
Glass. 



COPYRIGHT DEPOSIT 



-sjsl- 



<e 



^^UNGER w 



O 



MANUFACTURERS OF 



'** 



s 



Single Lift Jaequard Machines, 
Double Lift Jaequard Machines, 
Raise and Drop Jaequard Machines, 



Witch Motions, 
Dotaby Machines, 
Heddle Machines, 



Jaequard Card-Lacing Machines. 





— . — 






tSSSSJl 




j^aasew-, 




r- 


1 ezd^SE 






PIANO STEAM-POWER CARD 
STAMPING MACHINE. 

\cquard Cards. 



Made for weaving figured goods of all kinds, from the light- 
completely at the will I est to the heaviest, either for silk, cotton or wool. Single lift, 
punch as double lift or raise and drop machines. Harness tied up 
and made ready to set on looms of any make. Our raise and 
drop are especially adapted to weaving the finest silk and 
worsted goods. 



- rokes per minute. Th 
r.tout douhle that of a 

machine. Two cards can 
n * once. 



PIANO FOOT-TREADING 
CARD-STAMPING MACHINE. 

I have lately re-constructed this 
machine, making it more compact 
by a novel and durable escapement 
of the rack. 



' successful machine ever 
introduced for this purpose. 

Fai up^rior to hand lacing for regu- 
la- .ty and Curability. 

Light-runnog, simple and durable. 

Can be operand by a small girl or 
boy. 




Will lace 800 to 2000 cards per hour. 

Thoroughly and satisfactorily tested. 

Weighs about 500 pounds. 

Machines now in operation and re ady 
for the inspection of manufacturers. 

Machines placed on trial with re- 
sponsible parties. 



JACQUARD CARD-LACING MACHINE. 



Nos. 14 to 36 Canal Street, Philadelphia, Pa. 

(Take red car on Third Street to Frank ford Avenue and Canal Streets.) 



KNOWLES LOOM WORKS, 

WORC ESTER, MASS. 

BU.LDERSOF LOOMS FOR ALL STYLES OF WEAVING 



THE ILLUSTRATION ON THIS PAGE REPRESENTS OUR 

HE AVY WORSTED LOOM. 

Of Twenty-five or Thirty Harness Capacity 4x4 Box, with Single or Double Beam, m 
new and heavy patterns and fitted with every device that experience has shown to be practn.i 
we \- ia ve striven not to overload it with useless attachments which would be a source of vexatio 
expense by reason of breakage. 




The Loom is built with Entire New Driving Gears, Friction pulley if desired, P&ihve Box 
Motion, Heavier Upright Shaft and Gears, complete system of Positive and Conditional TakC-up 
Motions, Filling Stop Motion, Equal Driving Gears for crank and bottom shafts, and other ne \ 
devices which combine to make this the very best loom in the market, and one U/ pon which we 
guarantee to weave every variety of fabrics from the simplest to the most intricate that can be woven 
on any loom in the world. 

This Loom is also arranged with Jacquard for more extensive and intricay? patterns in Fancy 

Worsteds, etc. 

The Superiority of the Open Shed principle of weaving has been fully e< abhshed by the success 
•of this loom, and we are more fully persuaded than at the first that it is the true theory. The ver-l 
•diet of the numerous manufacturers who have them in successful operation is sufficient guaranty r /J 
the merits of the loom. (Send for Circular.) / 



Technology of Textile Design. 



Being a Practical Treatise on the Construction and 

Application of Weaves for all Textile Fabrics, 

with minute reference to the latest 

Inventions for Weaving. 

Containing also 

An Appendix showing the Analysis and giving the Calculations necessary 
for the Manufacture of the' various Textile Fabrics. 



BY- 



/ 

E. A. POSSELT, 



Head 3 faster Textile Departmetit Pennsylvania Museum and School of Industrial Art, Philadelphia, Pa. 

Author of "The facquard Machine analyzed and explained, the Preparation of facquard 

Cards, and Practical Hints to Learners of facquard Designing." 

WITH OVER 1000 ILLUSTRATIONS. 



PHILADELPHIA: 
Published by the Author. 

HENRY CAREY BAIRD & CO., 

INDUSTRIAL PUBLISHERS, BOOKSELLERS AND IMPORTERS, 
8io WALNUT STREET. 

LONDON: 
SAMPSON LOW, MARSTON, SEARLE & RIVINGTON, Limited, 

ST. DUNSTAN'S HOUSE, FETTER LANE, FLEET STREET. 




tf 



COPYRIGHTED, 1887, 

— BY — 

E. A. POSSELT. 







6 



ROYAL PRINTING COMPANY, 

N. E. Cor. loth and Filbert Streets. 

Philadelphia. 






KNOWLES LOOM WORKS, 



WORCESTER, MASS. 



THIS ILLUSTRATION SHOWS OUR 

VE LVET AND FLUSH LOOM . 

A Loom designed especially for this class of goods, and made with 12, 20 or 30 harness capacity 
and with Single Box at each end, or Double Stationary Boxes at each end designed to run two 
shuttles at each pick, or with two or three pairs of Drop Boxes at each end, arranged to use two 
shuttles at each pick and call either pair as required by the pattern. 

THE HARNESS AND BOX MOTION ARE THE SAME AS ON THE FANCY 
WORSTED OR CASSIMERE LOOM. 
The goods are cut automatically in the loom. The Take-up Motion is positive and very accu- 
rate in its operation, and the Let-off for Pile Warp is operated positively from the head motion, 
and controls the length of the pile on the goods. Many of these looms are in successful operation 
on this class of goods. 



/of 




We desire most respectfully to call the attention of Textile Manufacturers to the various Looms built 
by this Company for all kinds of fabrics, including 

Worsteds, Woolens, Dress Goods, Flannels, Blankets, Jeans, Ginghams, Uphol- 
stery, Draperies, Shawls, Ingrain Carpets, Silks, Satins, Ribbons, 
Suspenders, Bindings, Wickings, Webbings, etc., 

which have within the past years been introduced into most of the mills in the country, and where they 
have, by superior workmanship and perfect operation, won for themselves the reputation of being 
the best looms made, and established beyond question the claims made for them on their introduction 
to the public many years ago. 

(Correspondence Solicited). 



ERBEN, SEARCH & CO., 



Philadelphia, Pa. 



FAIRMOUNT WORST ED MILLS. 

Mills, 2416 Spring Garden Street. 



TACONY WORSTED MILLS. 



Mills, Tacony, Philadelphia, Pa. 



Worsted Yarns — English or French Systems; 

Also Woolen, Mohair, Merino and 

Genapped Yarns. 



Delivered on Cops, Shuttle Bobbins, Skeins, Six-inch 
and Dresser Spools, in Oil or Colors. 



PREFACE. 



An experience of several years as Principal of The Textile Department of the 
Pennsylvania Museum and School of Industrial Art, has shown the author of this 
work the necessity and value of a Text-book on Textile Designing and Weaving. 
The absence of any such guide to the study has induced him to prepare this work, 
which he trusts will be useful not only to the student as a Text-book, but also to the 
manufacturer as a book of reference. The results arrived at by the completion of 
this work, will be greatly enhanced in their value to practical men, when assured 
that a life-time of actual service in the mills of this country and Europe has been 
enjoyed by the author, and that the ripe experience of such practical knowledge 
has been closely interwoven with the results herein fully set forth. 

The favor so generously accorded his previous book entitled "The Jacquard 
Machine Analyzed and Explained ; the Preparation of Jacquard Cards, and Practical 
Hints to Learners of Jacquard Designing," greatly encouraged him in the prepara- 
tion of this work, and it is sent forth with the earnest desire that it may likewise win 
the approval of the public and aid in developing and extending a deeper interest in 
the subject. 

While much indebted to his many friends for their kindly hints and suggestions, 
he more particularly acknowledges the services of Mr. Theodore C. Search, who 
has been so unremitting in his zeal for the advancement of the work, and through 
whose generous assistance the author has been enabled to reach a more speedy 
termination of his labors. 

Philadelphia, Pa., November, 1888. 



CONTENTS. 



Divisions of Textile Fabrics, According to their Construction, 

Squared Designing Paper for the Different Textile Fabrics 9 

Foundation Weaves, 

The Plain or Cotton-Weave, 13 

Fancy Effects Produced with the Plain Weave 14 

Twill Weaves (Method for their Construction), 16** 

Combinations of Two or More Colors for Producing Fig'ired Effects upon Fabrics Interlaced on Twills, 22 

Satin Weaves (Method for their Construction), 25 

Influence of the Twist of the Yarn upon Fabrics Interlaced with Satin Weaves, 29 

Arrangement for Commencing the Satin Weaves for Special Fabrics, such as Damask Table Covers, Etc. , 29 



Drawing in the Warp in its Harness" and the Preparation of Drawing-in Drafts. 

The Harness, 31 

Principles of a Drawing-in Draft, 31 

Different Divisions of Drawing-in Drafts, 32 

Sub-Divisions of Fancy Drawing-in Drafts, " 32 

A.— Broken Draws, 32 

B.— Point Draws, 33 

C. — Drawing-in Drafts having a Section Arrangement, 34 

D. — Skip Draws 35 

E. — Mixed or Cross Draws, 35 

Specimen of a Complete Drawing-in Order, 35 

Drafting of Drawing-in Drafts from Weaves, 36 

Rules for Estimating the Number of Heddles Required on Each Harness, 38 

The Reed, and Reed Calculations, 39 



Derivative Weaves from the Plain or Cotton Weave. 

I. — Common Rib-Weaves, 41 

II. — Common Basket-Weaves 42 

III. — Fancy Rib-Weaves, 43 

IV. — Fancy Basket-Weaves 45 

V. — Figured Rib-Weaves, 4^ 

Effects Produced by Using Two or More Colors in Warp and Filling in Fabrics Interlaced 

upon Rib and Basket-Weaves, 48 

VI.— Oblique Rib-Weaves 50 

Combining Common, Rib and Oblique Rib- Weaves, • • 5 1 



CONTENTS.— Continued. 

Derivative Weaves from the Regular Twills. page. 

I.— Broken Twill?, 52 

Using Two or More Colors in Warp and Filling for Producing Effects in Fabrics Interlaced 

with Broken Twills, 55 

II. — Steep Twills or Diagonals 5 6 

III.— Reclining Twills 60 

IV.— Curved Twills, 62 

V.— Skip Twills 63 

VI— Combination Steep Twills, 67 

VII.— Corkscrew Twills, 68 

VIII.— Entwining Twills, 75 

IX.— Twills having Double Twill Effects 77 

X. — Twills Producing Checker-board Effects, 78 

XL— Fancy Twill Weaves, 80 

XII.— Pointed Twills, 81 



Derivative Weaves from Satins. 

Double Satins, 84 

Granite Weaves, S5 

Granite Weaves as Constructed by other Methods than having Regular Satins for their Foundation, . 88 

Combination of Different Systems of Weaves for One Design, 90 

Figured Effects upon Fabrics interlaced with Derivative Weaves Produced by Arrangement of Two or 

More Colors in the Warp or the Filling, or in Both at the Same Time, 93 



Single Cloth Weaves for Fabrics of a Special Construction and Peculiar Character. 



Honeycomb Weaves, . 
Imitation Gauze Weaves, 



Combination of Weaves for Fabrics Constructed with One System of Warp and Two 
Systems of Filling. 

Combining Two Systems of Filling with One Kind of Warp for increasing the Bulk in a Fabric, . . 105 
Combining Two Systems of Filling with One Kind of Warp for Figuring with Extra Filling upon the 

Face of the Fabric, 108 

Swivel Weaving, 109 

Combination of the Swivel Effect with figuring through the Warp, n 1 

Swivel Loom, in 



Combination of Weaves for Fabrics Constructed with Two Systems of Warp and One 
System of Filling. 

Two Systems of Warp and One System of Filling for Producing Double-faced Fabrics, . . . 114 

Using an Extra Warp for Backing for Heavy-weight Worsted and Woolen Fabrics, . . . . 115 

Figuring with an Extra Warp upon the Face of a Fabric Otherwise Interlaced with its own Filling, 117 

Lappet Weaving, ■ . ■ . . 123 

Tricot Weaves, ... T ofi 



Divisions of Textile Fabrics According to Their Construction. 

Every fabric, commonly classified as "woven," is composed of two distinct systems of 
threads (warp and filling) which interlace with each other at right angles. The arrangement 
of this interlacing is technically known as the " weave." All woven fabrics, as to their general 
principle of construction, can be graded in two great divisions : 

Fabrics in which one system of parallel threads is interlaced at right angles with a second 
system of parallel threads. (For illustration see diagram, Fig. I.) 

Fabrics in which threads of one of the before-mentioned two systems of threads, the warp, 
in addition to the interlacing, are twisted with threads of its own system. (For illustration see 
diagram, Fig. 2.) 





ID J 


LD , 


1 j 


K 1 


N* f 




■ 


I 


a 


1 


) 


¥ 




K \ 


1 




^ j 


? 


! 


1 j 


- 


: 


I 




1 


1 


5 


I 


1 


<: 


1 


[ 


] I 


J [ 


) I 






Fig. I. Fig. II. 

The first mentioned system of fabrics is divided into the following sub-divisions : 
Single cloth, double cloth, and three or more ply cloth, pile fabrics. 

Before commencing with the construction of the weaves, as required for the various textile 
fabrics, it is necessary to give an explanation of the purpose and use of the 

Squared Designing Paper for the Different Textile Fabrics, 

and its relation for indicating the method of interlacing warp and filling. 

In this □ designing paper each distance between two lines, taken in vertical direction, 
represents one warp-thread, see Fig. 3; and each distance between two lines, taken in a horizontal 
direction, represents one filling-thread, see Fig. 4. 

1st 2d 3d 4th Warp-thread. 



4th Filling 

3d " 
2d 
1st 
Fig. 4. 



(9) 



10 



ISt 


2d 


3d 


4th 


Warp-thread. 


n 





/ 


r 




i 


k 


/ 


m 




e 


f 


g 


h 




a 


b 


c 


d 





Fig. 5. 

4th Filling. 
3 d " 
2d 
1st 



Rectangle marked e will indicate the meetim 

" g " 
" h " 



It will readily be seen by the student 
that the different small rectangles illus- 
trate the place where a certain warp- 
thread meets with a certain filling- 
thread. Thus in our illustration, Fig. 5, 
the rectangle marked a will indicate the 
meeting of warp-thread 1 and filling 1. 
Rectangle marked b will indicate the 
meeting of warp-thread 2 and filling 1. 
Rectangle marked c will indicate the 
meeting of waip-thread 3 and filling 1. 
Rectangle marked d will indicate the 
meeting of warp-thread 4 and filling 1. 
j of warp-thread 1 and filling 2. 

2 " " 2. 



P 



ectangles, 
known 



The classifying of the n designing paper is done by enclosing a number of small 
horizontal and vertical, within a certain distance by a heavy line. Such enclosures a 
in practice as "squares!' 

In mentioning a certain kind of □ designing paper, the warp dimension is indicated first, 
and a design paper having eight rectangles vertical, with eight horizontal, is variously read and 
indicated as 8 by 8, 8 x 8 or 8 / 8 ; a design paper having eight rectangles vertical, with ten hori- 
zontal, is read and indicated as 8 by 10, 8 x 10 or 8 / 10 . Diagrams Fig. 6 represent some styles 
of n designing paper frequently used. The size of the square may vary in each kind of paper, 
and must be selected according to the fabric. For example, there are two different styles of 
8 x 8 n designing paper illustrated: one forming y 2 inch heavy squares and one forming ^ inch 
heavy squares. These sizes may still be varied. The principle of these two kinds of □ designing 
paper is identical, the size preferred being left to the pleasure of the designer. Certainly it will 
be understood by any student that in preparing a design or weave with a large number of 
threads for repeat, it will be advantageous to use a design paper containing the smallest sized 
rectangles practical to use. 



Practical Use of the Heavy Square in Designing Paper. 

The heavy square serves as a unit of measurement, as well as a means of calculation, and 
shows readily and exactly the size of the weave or design. The eye becomes accustomed to 
grasping the meaning of this large square, and comprehends at a glance the situation. For 
instance : 



CONTENTS.— Continued. 

Double Cloth. page. 

Description of the Construction and the Purposes for Making Double Cloth Fabrics, . • » ■ • 129 

Rules for Designing Double Cloth Weaves, 130 

Double Cloth Weaves having for their Arrangement One End Face to Alternate with One End Back 

in Warp and Filling 132 

Double Cloth Composed with Different Proportions of Face and' Back Threads, 134 

Double Cloth Weaving without Stitching both Fabrics, 137 

Double Cloth Fabrics in which the Design is Produced by the Stitching Visible upon the Face of the 

Fabric, 13S 

Rib Fabrics 142 

Three-Ply Fabrics 146 

Four and Five-Ply Fabrics, 147 

Pile Fabrics. 

Pile Fabrics Produced by Filling. 

Velveteens, Fustians, Corduroys, 149 

Chinchillas, Whitneys, 152 

Chenille as Used in the Manufacture of Rugs, Curtains, etc., 153 

Chenille Cutting Machine, 158 

Chenille as Produced in the Manufacture of Fringes 160 

Pile Fabrics in Which the Pile is Produced by a Separate Warp in Addition'to the Ground Warp. 

Structure of Warp Pile Fabrics, 166 

Terry and Velvet Pile, 166 

Method of Operation in Producing Warp Pile Fabrics, 167 

Velvet and Plush Fabrics 168 

Figured Velvet 171 

Astrakhans, .................. 173 

Machines for Curling Warp-threads for Astrakhans, 1S0 

Tapestry Carpet, 185 

Brussels Carpet, 18S 

Double Faced Pile Carpets, 193 

Double Pile Fabrics 194 

Terry Pile Fabrics, 216 

Pile Fabrics of a Special Method of Construction, 221 

Two-Ply Ingrain Carpet, 225 

Gauze Fabrics. 

Principle of Their Construction, 228 

Combination of Ordinary and Gauze Weaving, 231 

Gauze Weaving Mechanism for Open-Shed Looms, 237 

Jacquard Gauze, 240 

Cross Weaving for Chenille Fabrics, 244 

Cross Weaving as Used for the Manufacture of Filtering Bags, 246 

Cross Weaving as Used for Producing Fast Centre Selvages, 247 

The Jacquard Machine, . 250 

Modification of the Single-Lift Jacquard Machine, 2 5 2 

Card Stamping, ...... 253 

The Jacquard Harness, 253 

The Comber-board and Methods of Figuring for it, 254 

Gobelin Tapestry, 256 



CONTENTS.— Continued. 
APPENDIX. 



PAGE. 

Analysis of the Various Textile Fabrics and Calculations Necessary for Their Manufac- 
ture. 

I. — Ascertaining the Weight Per Yard of the Finished Fabric, and its Finished Texture, . . 257 

II. — Ascertaining the Weave, 259 

III. — Ascertaining Raw Materials Used in the Construction of a Fabric 261 

IV. — Ascertaining the Texture for Fabrics as Required in Loom, 263 

V.— Ascertaining the Arrangement of Threads in a Sample, According to Their Color and Their 

Counts, for the Warp and Filling, 264 

VI.— Ascertaining the Size of the Yarns (their counts) Found in Sample, and the Amount and 

Direction of Twist, 264 

VII. — Ascertaining the Weight of Cloth Per Yard from Loom, 265 

VIII. — Ascertaining the Process of Finishing Necessary and the Amount of Shrinkage of the Fabric, . 268 

Grading of the Various Yarns Used in the Manufacture of Textile Fabrics According to 
Counts. 

I. — Cotton Yarns, 269 

II. — Woolen Yarns, " Run System," 270 

III. — Woolen Yarns, " Cut System," 271 

IV. — Worsted Yarns, 272 

V: — Silk, 273 

Rules for Finding the Equivalent Counts of a Given Thread in Another System. 

A. — Cotton, Woolen and Worsted Yarn, 274 

B 1 . — Spun Silk Compared to Cotton, Woolen or Worsted Yarn, 275 

B 2 . — Raw Silk Compared to Spun Silk, Cotton, Woolen or Worsted Yarn, 275 

Tables of Relative Lengths 

Of Cotton Yarn by Numbers and Woolen Yarn by Runs, 276 

Of Cotton Yarn by Numbers and Woolen Yarn by Cuts, 276 

Of Cotton Yarn by Numbers and Worsted Yarn by Numbers, . 276 

Of Woolen Yarn by Runs and Cotton Yarn by Numbers, 277 

Of Woolen Yarn by Runs and Woolen Yarn by Cuts, 27S 

Of Woolen Yarn by Runs and Worsted Yarn by Numbers 278 

Of Woolen Yarn by Cuts and Cotton Yarn by Numbers, 279 

Of Woolen Yarn by Cuts and Woolen Yarn by Runs, 279 

Of Woolen Yarn by Cuts and Worsted Yarn by Numbers, . . 280 

Of Worsted Yarn by Numbers and Cotton Yarn by Numbers, - . 281 

Of Worsted Yarn by Numbers and Woolen Yarn by Runs 282 

Of Worsted Yarn by Numbers and Woolen Yarn by Cuts, 282 

Miscellaneous Yarn Calculations, 283 

Tables of Relative Measures for Length, Weight and Capacity Between the Metric 

Denominations and Those Used in the United States, 285 

Index and Glossary 287 



11 



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8x7 






8x8 



8x9 







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9x70 







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70x24 

























































































































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8x/5 



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12 



On 8x8 paper 3 squares mean 3x8, or 24 rectangles each way; on 10 x 10 paper 3 
squares mean 3 x IO, or 30 rectangles each way, etc. 

In designing for regular harness work we generally use n designing paper containing the 
same number of rectangles each way; thus even paper, as 8 x 8, 10 x 10, 12 x 12, etc., without 
taking into consideration the texture the fabric is constructed by. On the other hand the entire 
variety as shown are used, and accordingly selected from for the designing of textile fabrics 
requiring the Jacquard machine for their construction. For such fabrics we give a rule for 

Selection of Designing Paper. 

The proper character 01 the designing paper is ascertained by the number of warp and filling 
threads required per inch in the finished fabric. For example : a fabric with a texture when 
finished of M / 120 (80 ends warp and 120 picks per inch) will require a designing paper of corres- 
ponding proportion, or as 80 is to I20,=8 x I2 - 

Diagram Fig. 5, and its previously given explanations, clearly illustrated the object of the 
small rectangles, i. e., the places of meeting for certain warp and filling threads. Two ways for 
interlacing of warp and filling in a fabric are possible: either we raise the warp-thread, thus allowing 
the filling to go under it, or lower the warp-thread and allowing the filling to cover it. In the first 
case the warp will be visible, prominent on the face of the fabric ; in the other, the filling. 
Through this exchanging of warp and filling as visible on the face of the fabric, technically known 
as " Raisers or Sinkers," we form the interlacing of both systems of threads, known as " the 
Weave." 

Rule : Indications of any kind in a certain rectangle inside the repeat of the weave 
upon the designing paper mean " warp up " in its corresponding place in the fabric. Rectangles 
left empty inside the repeat of the weave upon the designing paper mean " filling up " in its 
corresponding position in the fabric. 

Figs. 7, 8 and 9 are designed for illustration of the preceding rule and explanations. 




~ ir " 



Fig. 7. 



A. 




Fig. 9. 



Fig. 7 shows under A the enlargement of a warp-thread taken from a regular designing 
paper, and containing in its repeat 12 picks in rotation. A careful examination of the diagram, 
and commencing to read from the bottom, illustrates the warp-thread alternately down and up; 
also at B the reproduction of the warp-thread and necessary picks from a fabric. 



13 



Fig. 8 illustrates the design and working of a similar warp-thread with the same number of 
picks in repeat, but with the arrangement : 

One up two down, four times repeated=twelve picks. 
Fig. 9 illustrates the design and working of a similar warp-thread as used before with the 
same number of picks in repeat, but interlacing with the arrangement: 
Two up two down, three times repeated. 
The interlacing of both systems of threads, or, in other words, the different weaves are 
generally divided into 3 distinct main divisions (Foundation weaves) : 
The Plain, 
The Twills, 

The Satins ; forming the foundation of all the other sub-divisions of weaves classified as 
" derivative iveaves." New weaves are also formed by the combination of weaves from the 
various sub-divisions, etc., thus forming a field impossible to cover in detail as respects each 
particular weave or special fabric; but we will, however, by means of our future lectures, impart 
the principles for their construction, thus giving the student sufficient knowledge to master any 
and every combination required. 
li: 

Foundation Weaves. 

I. THE PLAIN OR COTTON-WEAVE. 

Fig. 10 represents a fabric constructed with the weave techni- 
cally known as " the plain" or " the cotton-weave!' In this diagram 
two distinct sets of threads, crossing each other at right angles 
and interlacing alternately, are visible. The threads running 
longitudinally (marked IV), or lengthways in the fabric, are the 
warp-threads ; the traverse threads are the filling (indicated by 
F in diagram.) 

Fig. 11 shows the design or pattern, executed correspondingly 
to fabric sample, Fig. 10. The shaded 
uares indicating warp up ; the empty 
squares representing filling up. ].' 

Fig. 12 is the section-cut of a fabric £■* 
woven on " plain " weave, showing one 
warp-thread light ( 1), the other shaded (2). 
The filling is represented in full black. 
An examination of Fig. 10 will convince the student that this weave produces a very firm 
interlacing of the two systems of threads employed, in fact it is the most frequent exchanging 
of warp and filling possible. The fabric produced with this weave will be strong, as each 
thread, by reason of the interlacing, supports the others to the utmost. 

This frequent exchanging of warp and filling in the " plain" weave will also produce a fabric 
more or less perforated. These perforations are regulated by the size of the threads used in the 
construction of a fabric, and by the twist employed in the manufacture of the yarns. 

1st. The thicker in size the threads are, as used in the construction of the fabric, 
ne perforations will be. 

•oft twisted threads reduce the perforations to a lower point than hard twisted threads 
,e and direction of twist. 

'he perforation will again be reduced by employing a twist for warp and filling, which, 
are interlaced, runs in the same direction. 




Fig. 12. 



14 



Fig. 13. Fig. 14. 



To illustrate this last rule Figs. 13, 14, 15 and 16 are constructed. 

Fig. 13 represents a thread twisted from the right towards the left, which 
is called technically "left" twist. 

Fig. 14 shows us a thread twisted in the opposite direction, or from the 
left towards the right, which in turn is classified as " right" twist. 

Fig. 15 illustrates a fabric, woven on "plain," in which the direction of 
the twist is opposite in warp and filling when interlaced, thus larger perfora- 
tions will appear than in Fig. 16 which illustrates the same fabric, but having, 
when interlaced, the same direction of twist in both systems of threads. 

The plain weave is very extensively used in the manufacture of fabrics 
composed of all kinds of materials, as cotton, wool, worsted, silk, hair, wire, 
glass, etc. 

Fancy Effects Produced with the Plain Weave. 

The first move towards figuring a fabric constructed with the plain weave 
is made by varying the thickness of the threads in the warp or filling, or in 
both systems at the same time; for example, in " repp" cloths as used for ladies' 
dress goods, and also for decorative purposes. In these fabrics either one kind 
of warp and two kinds of filling (one pick heavy, one pick light) or two kinds of 
warp (one thread heavy to alternate with one thread light) and the before men- 
tioned two kinds of filling are used. 

These changes of heavy and light threads are also used for forming borders, 
as observed in some cambric handkerchiefs or similar fabrics. Fig. 17 is given to 
illustrate one corner of such a fabric. 

Another step towards figuring in plain weaving is made by the arrangement 





Fig. 17. 



■' 


■ 








1 ■ ■ 


]_ 






:: :: :: a 


















;.- :: :: ;: 






a a a a 



15 

These effects are used to a large extent in the manufacture of ginghams, ladies' all-wool dress 
goods, as well as in the lightest qualities of fancy cassimeres. It will be easily understood by any 
student that a fancy color arrangement (dressing) of the warp will, in connection with one-color 
filling, produce corresponding stripes; therefore we will devote the attention at once towards the 
fancy color arrangement for warp and filling. 

Among the simpler effects may be found what is technically known as a "hair-line" effect, and 
is derived through an alternate arrangement of i end light, I end dark in warp and filling. Each 
filling must cover its own color. Therefore when the shed of the warp is formed by the dark set 
of threads up, the light set of threads down, the light-colored filling must be interwoven. Again, 
if the dark set of threads are down and the light set of threads up, the dark-colored filling has 
to be thrown through the shed. 

Arrangement pj g jg ju ustra tes the effect as produced by this arrange- 

War P- ment. If the interweaving of the filling, as explained in fig. 18, 
is changed to the other pick, we get the stripe effect across the 
Effect. fabric or in the direction of the filling. This effect, known as 
" imitation tricot," is illustrated in Fig. 19. By combining, 
alternately for certain spaces, the hair-line effect with the tricot 
ing Aga. is, 19, 20, 21, effect, "checkerboard" effects are obtained. It will be readily p IG jo 

22, 23 and 24. i_ . .1 i r • i-i.ii 

seen, that the regular arrangement of repeating 1 light, 1 dark, 
will produce either one of the before-mentioned styles. Therefore, by allowing, in a distance 

■ ■■■■'■ , of a certain number of ends (according to the size of 

_"■"■ :: :: :: " :! :1 _ the effect), 2 ends from one color to be used, we will 

; aa aaaaaaaaaaaa change from one effect to the other. 

aa aaaaaaaaaaaa 

iaaaaaa Fig. 20 illustrates one of the many styles possible 

j to be derived. There are 9 ends of warp and filling 

Eaa aaaaaaaaaaaa for each effect, therefore 18 ends for the repeat. 

Fig. 19. Figs. 21, 22, 23 and 24 illustrate a few more of the 

many different effects which may be obtained. The 
principle observed in exchanging the two main or Fig. 20. 

foundation effects (hair-line* and tricot) is left undisturbed. 

In Fig. 21 the arrangement of warp and filling is 2 ends light, 1 end dark, forming the 
"broken-up" effect. 

Fig. 22 is constructed of 2 ends light, 2 ends dark, in the repeat of its color arrangement, 
and forms a " star" effect. 

■-■ ■ ■ _ ■ ■ 

■ ■ a a :: ' a 1 ■ «uaa ■ ■ aa aa 



paa 



■ ■ 

■ ■:: :: :: :: a a :: :: i 

■ ■ a :: a a a a a a > 

H ■ n t 

.... ...'.'......'..'.".. II II II II "' 





■ ■ 


a a a a 

■ 






















.... 


a aaa a aaa 




aa 


II aaa II aaJ 



a"" a"" a"'i "" •- -- " 

Fit;. 21. Fig. 22. F'«- 23. 

Fig. 23 is constructed as follows: 

a t r 1 end light, 

Arrangement of warp, & ' 

2 ends dark, 

3 ends in the repeat. 
Arrangement of the filling: 1 pick light, 

to alternate with 1 pick dark, 

2 picks in the repeat. 



16 



o : ■ a: i ia .1 ia « : 



Fig. 24 is constructed as follows : 

a l r <.u 2 ends light, 

Arrangement of the warp, , , 

2 ends dark, 



1 aa aaa aaa aaa , . , 

; aa aaa Haa IHaa 4 ends in the repeat. 



caa baa ]saq iaaa Arrangement of the filling : i pick light, 

aju-iidri'ii a a »i to alternate with i pick dark, 

Fig. 24. — 

2 picks in the repeat. 

Similar effects upon the plain weave, as illustrated in Figs. 18 to 24 inclusive, can also be 

arranged for 3 to 4, or more colors in warp or filling, or for both systems combined, for producing 

one effect. 

II. TWILLS. 

In twill weaves (or tweel from the French tuaille) the warp and filling threads do not inter- 
lace alternately as in the plain weave, but only the third, fourth, fifth, etc., thread is used. 
The peculiarity of the twill weaves consists in having every successive pick interlace correspond- 
ingly with its successive warp-thread, thus : If the first pick ties in the first warp-thread, the 
second pick must interlace in the second warp-thread, the third pick must interlace in the third 
warp-thread, etc. Continuing to design in this manner until all the harness required to be 
used are taken up will give us the " repeat!' This manner of interlacing warp and filling will 
produce a distinct pattern upon the cloth, i. e., lines running in a diagonal direction across it. 

Comparing the twill weaves with the plain weave in respect to thickness of the cloth to be 
produced, will show that the twill weaves permit of the introduction of more material into the 
fabric, thus making it closer in its structure than the plain weave. The reason for it is found in 
the fact that in twill weaves the warp and filling interlace only at intervals of two, three or more 
threads, thus permitting the warp and the filling to lie closer together. 

We mentioned before that the twill weaves form diagonal lines on the cloth. These lines 
can be arranged to run from the left to the right or from the right towards the left. It will be 
the clearest visible to the eye in the fabric by using the twill in the weave the same direction of 
twist the warp-thread has. 

Twills commence with the 3-harness, and can after this be made on any number of harness. 

Various methods are in practical use in classifying common twills. The most proper course 
will be to divide the general system into two divisions : 

A. Uneven-sided twills, or twill weaves in which more or less warp-up indications appear on 
the design, compared with filling-up indications, or the amount of indications balance but the 
general arrangement is different in one compared with the other. For example : 2 3 2 1 = f , but 
differently arranged for each side. (For indicating this division of twills the letter u is used 
throughout the chapter.) 

B. Even-sided twills, or twill weaves in which the amount and arrangement of warp up and 
filling up is completely balanced. (For indicating this division of twills the letter e is used 
throughout the chapter.) 

538*52 3-harness twill. 823BS3 3-harness twill. 

□■■□■■ O ■□□■□□ T 

3HDMD _± U snnMDLM l „, 

■□■mlm — «• □■□□■n — - u. 

!□■■□■* 1 i«nn«nn 2 

Fig. 25. War P for face - Fig 3 26. Filling for face. 

Commencing the designing of twills on 3-harness, we find one twill possible to be made 
upon it, which is the u twill: 1 down 2 up or 1 up 2 down; also technically represented with 
warp face -j -, filling face -, and weaves shown in Fig. 25 and Fig. 26. 



17 

Fig. 27 illustrates the plan of the fabric obtained with weave Fig. 26. 

Fig. 28 represents the longitudinal section cut of fabric shown in Fig. 27. Numbers 
as used on weave, fabric and section cut are selected correspondingly. A in section cut indicates 
warp-thread No. 1 in plan. 




^-Harness Twills. — Examining four, we find 2 kinds of twills possible to be obtained : 1 down 
3 up («), or 1 up 3 down (u), and 2 up 2 down (e), this being the first even-sided twill obtained. 



■■■■■■ 
■■•■■■ 
■■□■■■ 



Fig. 29. 

4-harness twill. 

3 
— u. 
I 

Warp for face. 



nnn*ann* 
::•:■::: :: :■:: 
! :■:;:;: :m;jh 
■QdLMnnn 
dnnwnncM 
Dn«nnn*n 
r:«: xx :■:.::.] 

!■□□□■□□□ 
1 4 

Fig. 29a. 
4-harness twill. 



Filling- for face. 



□□■■ncM« 

■ ■':■■ 
■□□■■□n« 
cirjMnrjM 
!:■■:]:■■: 
umnamm'js.] 
mnnmannH 
1 4 

Fig. 30. 
4-harness twill. 

2 

— e. 
2 

Warp and filling equal. 




Fig. 31 illustrates the fabric obtained with weave Fig. 30. 

Fig. 32 represents the longitudinal section cut of fabric shown in Fig. 31. A = warp-thread 



No. 1. 



^-Harness Tzvills. — In five-harness we find three different kinds of twills, as follows : 
Warp Face. Filling Face. 

1 down 4 up («), or 1 up4 down (11). 

3 up 2 down («), " 3 down 2 up {it). 

1 down 1 up, 1 down 2 up (»), " 1 up 1 down, 1 up 2 down («). 



18 



■ ■■■::■■■■. 

■ ■■:■■■■■ 

■■■■■■ Bl 
■■■■■■■■ 

■ ■■■■!■■■ 

5HiiaiHin 
bbb::bbbb:;b 
■*n«B««n«5 

■ ■»■■■■ 

IDHUDHIIl 
1 5 

Fig. 33. 



an :::bbb: ii ■ 
■aDBBBnnBM 

DDMBMDnMBg 

DMBHanBBgg 
■■■nn»B*nn 

6BBDnBB«nDM 
■DDHIDDII 
□□■■■□□■■■ 



Fig. 35. 



■nB*OMnB*a 
n«Bn«n*BDM 
■■□■□■*□■□ 
iniaiiDini 

5BnHBDMngMn 

□ ■■□■£]■■□■ 
■■□■□■MEMn 

■nBDMBngng 
1 5 
Fig. 37. 



5 -harness twill. 
4 



5 -harness twill. 



5-harness twill. 
1 2 



nnndmngnDM 
nnn«nnBnBa 
□□■□nnnBnn 
niannDinnc 
■□□□□■□nan 
snannBnnucB 
□□□■□nncBi 
■:;■■ iunnBuq 
fjBnnncBnnu 
iBCDDnmanan 
1 s 

Fig. 34. 



pn*Mnda«*n 
□■■□□□■■□□ 
■■□□□■■□□n 
■□□□■.■□na* 

i iui :BBnan»B 

.',; ". IBS 

II JIJDBBDfl 

■■nnnBH' :.-.. 
mnriBE" . . :n 
iLJunBBnan«* 
1 5 

Fig. 36. 



□■□□■CMtinM 

Mi r,B jB a 
nnMDBnnB;:B 
ni: !■□□■□■□ 

■□■□□■DBgn 
5nBnCBCB'JCB 

MnaBaMnn*n 

□□■□■DCMCM 

nBnBDDBnBn 
!■□*.□□■□■.□□ 



5-harness twill. 



5-harness twill. 
2 



5-harness twill. 
1 1 



Fig. 38. 



6-Harness Twills.— On six-harness five different twills are found : 

Filling Face. Warp Face 

! up 5 down («), or l down 5 Up W 

2 up 4 down (a), " 2 down 4 up (4 

1 up 1 down, 1 up 3 down («), " I down I up, 1 down 3 up («> 

Warp and Filling equal. 
3 up 3 down (e). 
2 up 1 down, 1 up 2 down (e). 



nnnnnMnaanna 

n: ::.ii:B:j: :: :~s. :b:j 
nnnBnunnnBnn 
u;:blii iuiI-Ml:; ii i 
nBannan«nnnn 
MuanDDBnnunrj 
ennnnnBDnnnnB 
rjnanB::nna; :b:i 
nnnannnnnBan 
□aiuannainnn 



Fig. 39. 



MaannBBnnnnH 
□QnoMnnuaM 

nnBBnannBBoa 
nBBanDDBBnnn 
HBannnBBnnan 
< b :; ir.r !■■:":'. :□:"!■ 
nnnrJBBncnnBB 
□□1 lBBnnnnBBn 
nDBBannnMBan 

n*BDDDnBBDDn 



lu'jnnn::. :: .: - 

6 

Fig. 41. 



6-harness twill. 



6-harness twill. 



mil mm l 
■iiiiioi ■■ 

iinr — 



riBBBflBnBBBBB 
(iBBBBBUBBBBBn 

bbbb:;bbbbb::ib 



BB'JBBBBB BBB 

b:jbbbbb^bbbb 
16 

Fig. 40. 



UBBBBariBBBBIl 

■■i:i:iHinni 
ii :::bkbh3:ibb 

B i'-JBBBBL ~«1B 

5 :bbbbddbbbb 

61 IDBBBnCMBBBn 

*■■■□□■■■.■□□ 
BBMnoBBBgngB 
■■.□□■■.■■□dm 
■□□■■■■□□■■■ 

lnrJMMHdDMMB. 



Fig. 42. 



6-harness twill. 

S . 



6-harness twill. 

4 
— u. 
2 



□■□□□■□■□anta 
■nnaMaBannsn 
□□QBnBnnnBPB 
nnBDBnnnBr:B r i 
nBDMannMDMQD 
■naaDnBaBann 
6nBnnn«aBanni 
■□□□BnaarjciBn 
□□□■□■nnaBCM 
nnBDBnnD«aBn 
nBDMnnaBnagn 
iBnBnnnmDBnnn 

,1 6 

Fig. 43. 



6-harness twill. 



B'1BBB^H"BBB;! 

■■■■nMOBBgng 
■■■n«n«MBD«H 

MBnBDBBBDBgJ 

□BOBBBDMEIBM 
GIDillDIDIMn 

mi ■■■! 



IDBHBBB-JBMBBB 
1 6 

Fig. 44. 



6-harness twill. 

1 1 



19 



■■nnnMaannnn 

■nnnaaannnaB 
onnaaannnaaB 
DDinuLiniHa 
nBBanDnBBBnn 

■■■UDDIIIDDD 
6BBDnnBBBDOnH 

■nnnBaaanuBB 
■■ . bub :.... ■■■ 

nnaaBnnnaaan 
DMMDnmaann 
!■■■□□□■■■□□[! 



Fig. 45. 



6-harness twill. 

3 -e. 
3 



a. a ■■ 

□■□□■■ni 
a ■■ ■ 
□□■■nann 



■ 1 

I 



nnaa: aunaa: a 
l:bb::b:;::bb: a : 
iBanannaanann 



Fig. 46. 



6-harness twill. 
2 1 



•j-Harness Twills. — On 7-harness eight different kinds of twills are found, all uneven-sided. 



Filling Face. 

1 up 6 down 

2 up 5 down 

3 up 4 down 

1 up 1 down 1 up 4 down 

2 up 1 down 1 up 3 down 
2 up 2 down 1 up 2 down 
I up 3 down 1 up 2 down 

1 up 1 down 1 up 1 down 1 up 2 down 



Filling for Face. 

nnnnnnannnnnna 

a: ::j: ::::;: a . 

:■.:::. a: .: :::: ::—■::: 1 

[ :;.:ci::r:::;c: ■ :~:i 

a ::: a : 

! . a: :::::: ::::a: .::::;::: 
a a. .:.:.■ .:: 

ffi :nnn«nnnnna« 

b a 

! :.:i.r.a::: '"Mra::. ; 

§ni ■:::;: :jl:::b::: a < 
Dannnnncancnn 
annnonnannnnn 
lannnnncnnannnn 
1 7 

Fig. 47. 

■nnnonBannnncM 

1 ; :. ' bb:j: ,:jbb 

nDnaaannanaaDn 
[.: :ii::'.!;::l:ii::::3 



bb: 



in 



Fig. 49. 

ancaaannnriM 

bbb. 11 . :hb 

■■■::::: eibsb 



1 :: ■■■ :: :u: ■»:: 1 

naaannn: 'bbbul:: 
laaannnnaaaDCua 
1 7 

Fig. 51. 

nannnnanannnnH 



7-harness twill. 



7-harness twill. 




Warp Face. 

1 down 6 up, 

2 down 5 up, 

3 down 4 up, 

1 down 1 up 1 down 4 up, 

2 down 1 up 1 down 3 up, 
2 down 2 up 1 down 2 up, 
1 down 3 up 1 down 2 up, 

1 down 1 up 1 down 1 up 1 down 2 up. 

Warp Face. 

• ■■■■E linn 
■ mi ■ ■ 

■■■■ IIIOII II 



BaBBBBBBBBBa, 
B ■■■■■■ ■■■■■ 
: BBBBBB ■■■>■■ 

■■■■■■ 

■■■■■ IIIIII I 
■ III III 

no iinn ■■■ 
■■ ibiiii ■■>■ 

iiiiii 

■ ■■■■■ 



7-harness twill. 
6 



Fig. 48. 



BBBBBBlaBB 






■■■■■: ■■■■■ .: 






bbbb aaaaa :i a 






BBB. II lllll ' BB 

■■ bbbbb: bbb 
a . bbbbb: .: bbbb 






7-harness 


twill 


: mil iiiii 






7 'BBBBB. . 




5 


■ ■Ill IIIII ID 

mi ■inn :: :■ 




2 




bbbl::.:bibib bb 




■a... ■■■■■:::»i 






■""bbbbb: iiib 






iBaiaijaaia 







Fig. 50. 



:• bbbb: .: : mi 

BBBB ' .' BBBB' I 
BBBB: ' BBBB. 
BBB. :. . BBBB . . B 

bb: ;. j[ bbbb: 11; aa 
a: .: :: ■■■■ :: ;i bbb 

^□□■■■■Linnwajw 



7-harness twill. 

4 

3 



Fig. 52. 



'a~B::n 
i"»~n 
■::: 



Fig. 53. 




: FitE ■ :■■■■ :■ 
am ■ bbbb a 
■as B BBBB B B 

■I I ■■■■ ■ II 

■ :■::■■■■ a bbb 

■ ■■■■:■■■■■ 



Fig. 54. 



7-harness twill. 
1 4 



20 



anannnaariBn-na 
iiMi rxiaa ■ :; i '■■ 
■ : ■■ ■ :bb 

:: ■■ ■ :: :: ibb. ■ 
: i:Mi:i«anniinin 
niinci: ; .■■::■: :: . 
aBdannnaaaannn 
7ananx :bb::b: . ' n 
nancnaa: ;■: :: r :■■ 

i ::.;; ■■ ;■ :: liiidi 
:. :■■: :■: :: :: :■■' ■: : 
i mq '■' ■; i: !■■: ■ : 
mmr.m: innuuzxauu 



Fig. 55. 



7-harness twill. 
2 I 



1 ■ninnn«::m:: 
■□■■■:::::■-:■■■:': : 
iiiiiuniriiiiiini 
■■anuaaaaax a' . 
■annanaaaunMcia 
annai laaannai :bb 

UDBIIIBBBQnBnBBB 

7rjanaaannBaBB»n 
aaBBanrjanaBB::; 
□BBBrjaanaaanna 

inaniniiiDDiQ 
■■: inanBaacnana 
■□: :■: aaannanaa 
imanaaannanaaa 



Fig. 56. 



7-harness twill. 
I 3 



■::;: :■ :: iBannanria 
nni:nii3niai-:ii 
DHnijBB. :na::i :bb; : 
a- : an a - ■■ 
11 [■■nnannaanaa 

~m: : :■: :::■»: . :b; : n 
- 
-- 
bxibb: :n«^3Mi:- 
i idbb: laannaBixjB 
' ■■ :: :■: :pbb:j '■' : 
^■□□■□□■■□□■nn 



Fig. 57. 



7-harness twill. 
2 1 



□HDiianunna 

■ BCIBB: iDBBLlBBn! I 

iDHaaiiniiDDi 
nBannaBnaannaB 
■bddbbdbb: 

■PDBBDBBnnBBnM 
. ■■ ID IIUII 

: :■■ :bb: :3iin«ia 

1 ■ 
■□■■□□■■DBBnnB 

□■■□□■■□■■□□■B 

aannaaaaannaan 

BrjnBBnBBaUBBHB 

i[::m::h™:h::ii 




Fig. 58. 



nnnannarxnan-a 
una: : b , : .m. :: m : 
1 ■ :::b:;: : .a- ; ■ :: 
b. .: b :: . blxb: ::j:_; 
:: :b::: r:a :: :b: : :: :b 
i ■ ;, .: ■ 1 ■ ;:.:■: 
bxxjb: : :■: ' : :■: :: 1 
7;:n: ■ ;: :b:x: a ;; :■ 
: xb: i: :b: 1: " :■: : :b: i 
ninni:".:: i: :b :: :■■ :: 
anna: xub' :::b::x i 
□::jb: : :: -ax^a 1 ' :: :■ 
i b : :: :■: 1 n :x :b:i 
laxxnannanxaaxa 
1 7 

Fig. 59. 




unnniunnn 
bb:.:bb: :■■■_"■■: ;■ 
■: ibbhbbb: :■■;■■ 
□bbcbbb^bb ■■■ 

BB: iBBBIIBBuBBb::: 
■nBBBDBBDBBBDB 

iibbb. ibbhbbb:jbb 
tbbb: ■» ibd bb:: 

■ b :iinuiu»: ;i 

b: ■■ :bbb: ibb: ibb 
■■ bbb" bb bbe 

■ a BSD BIDIII'1 

■ iirii ii» i 

iDHiiJiiniiinii 
1 7 

Fig. 60. 




□nnannaxanaxm 
b m a b b :.:■; : 

■ ;b: b. h ,: :b. .■ 
■ ' ::■: :n ib: :: i::»a 

.: ■ ■ ■ :; :■: ■ :■ 

□ BOB! IB :' ■ '■' b 1 

■□anax :■: b e : 
7nanax :b::b ;■: ;: :■ 
m o :b b h : :■ ' 
1 IB' b b: b: ;: :■: IB 
b: ■ b ■ b:b: 
■ b a ;. bub: :tr 



7-harness twill. 
I I I 



For 8-harness, we find the following tzvills : 



■aBnaBnananaan 
IB ■ IB! ibb: ib 

DiiDiainuni: b 
BBnaaanaBaB: a 
anananaaDBLiaiiB 
nB"B3Banananaa 
■anananaan 
nanaanananaana 
■□■■□■□■□■■□an 
naanananaanana 
aBraananaananBrj 
a: ■ ■ m ■■■ 
inana^BBnananaa 



Fig. 62. 



7-harness twill. 



Filling Face. 



nnnnanaannaonnna 
□□□□□□annnnnnnan 

□□□□□anannnxjann 
nnanauDDunacannn 
i:: a x: ■ :x\:: 
□na;xjnDunna: ::x.vx 
nixjannxjiDi ::.;: xn 
annnnnnnannnnnnn 
ennnnnnnaamnxana 
□nnnunannnncnnan 
n:JX.:;jan:".iDijnnnann 

bnnanxii ixxa: ;nx 1 
x:b::x :;:: :x:b: :: xx ; 



Fig. 63. 



Warp Face. 



■ bbbb: ihbbbbbb: :bb 
bbhbpbbbbbbb: :bbb 
bbbi ibbbbbbbpbbbb 

■■ ■■■!■■■ 



I 



in 



bbbbbb-jbbbbbbb;:b 

■ bbbb: ■■ 

bbbb~ bbbbbbb: :bbb 
bbb: :■■■■■■■ :bbbb 
bb: .bbbbbbb: ■■■■■ 

a in 

: aniHii aaiiiii 



Filling Face. 

■nnnnnnaannnnntia 

□nunnnaanpunriDaa 

1 1: IO II 1! iniXMBLJ 

mnnaax ;ut ::.:::■■: in 
□i xbblixtjx xbbxx 
naaannnnnraannnn 
□■annnnnnaaanncin 

n , : ri.-i r, 

nnannrr. 

nnannaaaannnnaan 

xixiaax^nxxiBBLin 

□nnaannnnnnaannn 

nnaannnnnDBB:.:nnn 

naannnnrxaannunn 

laanunnnnaannnnnn 




Warp Face. 

DaaaaaanDaaaaaaa 
iiiiii: riiiiiu:: 1 
aaaaaanaaaaaanna 
■aaannaaaaaannaa 
aaaaaaaaBBBnnBBa 
■inaiiiiiiDoiin 
■ Buna ■■■■! 
■■■■■■ ■!■■■■ 

■aaaaaanaaaaaann 
iimxjiiiiiinni 
aaaannaaaaaannaa 
■■■ ■■■■•■ :bbb 
■iDDiiiiiinaiiii 
■anaaaaaaanaaaaa 
•■ ■: laaaaaauuaaaaaa 
1 




21 



■■□□ntXMMnranntM 

■ :• ::. :■■■: i, ::jpbb 
rj' :; • :: :■■■ .ppppbbb 
mi: ipbbb.jPp:: !■■■:! 
pppbbbpppppbbbpp 

nBBBPPPPOMirjpnp 

■ ■■' ' ' :«nb : 

-■■ ana ■ 

bpppppbbbpppppbb 
oppppbbbpppppbbb 
□npnBBBPPPPPBBBP 
n: ipbbb :: ipppbbbpp 
ppbbbpppppbmbppp 
□bbbpppppbbbpppp 
ibbb : ■■■ :::::: I 



Fie. 67. 



ana 


■nnn 


5 

bpipboppb 


m m 


:::::■ 


pbpbpppbp 


::■ - 


:::■: 


■ ■ :: ■ :■ 


u:::: 


n ■ 


^bpppbpbp 


n: :. 


b: b 


■pppbpbpbi 


n: :■ 


:■ ■ 


iuppbpbpbp 


ci: : 


■ ■ . 


^niaijinn 


■ ■ 


■ 


pbpbpbpuP 


spb. 


■ : 


■pbpbpppb 


■ ■ 


.... n 


JBUflU-lLUMJ 


::■ : 


: m 


■□■pppbpb 




9 ■ 


•■: :: :pb~b 


::p: 


■ ■ 


■ ':''■■ h 


p::i 


a ■ 


:::; :■' '■' 'b:j 


■ 


■ ■ 


jpb' a :bpp 


|» ■ 


ji: :p 


jiai_i-an 



Fig. 71. 



«. 



I 1 3 

□■□□■□□■nMnnwanB 

■ :pb: :::b .■:.:. ■ :' ■ : 
' : ■ ;• :■::■: .: :■ ■ :■ 
ni:jn«Diun«;j:a::i: i 

■ ■ ■ ;: :■: : ■ ■ ' : 
□ cwnTi DM nn « ]■□□■ 
: '■: :■ :: :■ : :■: ■ :■ . 

■ ' ■ ' ■ ■ ■ ■ ii 
s: a \ :■ j- 1 :■: • ■ i 1 o 

■ :■:.'■ ■ ■ ■ 

: ■.:::■ ■ .: ■ ::■ ■ 
■ :. :■' ■ b ■' ■: . 

■ ■: :■ . ■ : 1: a 1 
.. a a .. m . B q .. m 

: :■' :■: " a ::■:;■ : m . 
lBPBPPBPPBPBpaBcp 

1 8 

Fig. 75. 



I 2 2 

nnMnnnaMnnannnnB 

■ ■ ■ .... ■ 
■nnanannanDnnBan 

:pbp:jbp: :: . :■: :_b 
BnPBnnBPPnaBPPBP 
□nBPPBnpppBppBPD 

v.m: !!.:■: :: :s.;pb>.i: iBPfi! 1 

■ :: 1:1 ;: : :b;:ipb:x:::pj 
s:.T, ip:::i: :■;•;:■: r~: ■ 

nBPPPPBPPBnnppBn 

■ ' " ::;■; n ■. .. : 1: : : 
iv ■ : in; ;bpp: .::■::. ;■ 
p::::bp:i::pp: ip: ■:; 
ppBPPBpnppBPPBpp 
r* :pb: : :ppb: :pbp: : : 

lBPPBanpnBDPBpnnp 



Fig. 79. 



2 4 

■■■nnnnBBMBnnnnM 
■■: —□□■■■■nnnnraiB 

■ ; .. ■■■■ ;• : ■■■ 
: . ■■■■ : - : ■■■■ 

: - '■■■■ ::: ■■■■ 

it :■■■■ ::::::: iihdd 

■ ■■■ :: ;::':imn::: 

■ ■■■: : ' ■ ■■■■ 

8BBBPP' ' ■■<!■ ; ; B 

■■an: r ■■■■ : : ■■ 
■a; ;□: :■■■■ ■ : :■■■ 
: :: : :■■■■ :: : ■■■■ 
nppBBBBpppnBBBin 
nnBBBBppppBBBipn 
PBBBBnnppBBBBnpp 
•■■■■□□□□■■■■nana 



Fig. 83. 



nBBBBBPPPBBBBBnn 

~ iLiu; !■■■■■::: ::j 
.rani :■■■■■: ippb 

■ ■■ bbbbb 1: pbb 
bbpppbbbbbpp: :■— 
■:i:i: ibbbbbpppi" 
a. :: ibbbbppipbbbb 

inDIIlHQ3DlllHD 

niHiiDnniimnn 
■■■■MnnnBBMBMnnn 

BBBBPPHBBBBBPPnB 
BBBPPPBBBBBnPPBB 

bbpppbbbbbpppbbb 

■ '. ■■■■■ : : ■■■■ 
lnnnHHinpnMHH 



Fig. 



■naniHHniaHDMaan 

■ bbb: 1 ipmipi 

BPBBBPBnBPBBBnBP 

bbb :■: a .bbb: 1 pa 

■■■' '■::■' :ninir:in 
■■' :■' :■ bbb ■ ■ !■ 

■ ■ !■' :■■■ :■ ■: :■■ 

■ B IBB B ■: '■■■ 

■ ■ bbb :bpbpbbbp 
pbpbbbpbpbpbbbpb 
bpbbbpb: iM: :mmb: :■!! 

□■■■: :ini: :■■■::■::■ 
■bbpbpbpbbbpbpbp 
■ ■ 



Fig. 72. 
• 1 3 
1 1 1 

BnBBPBBnBnBBPBBP 

pbbpbbpbpbb: :■■: ■ 



■ Bl 



I :■ 



BinilCK 



am ■ ■■::■ 
■ ■' 1 bb bb 

1 ■ 13 bb 1 
■ ■■; ■■: ■ 



Fig. 76. 



Mil aa bbbbpbb aa 
■ ' !■■ bbbbpbb: :bbb 
ummi ibbb bb ■■■■ 
«■■■■■ ■■■■>■ 
bpbbbb.iipibbipi 



Fig. 80. 
2 4 

nr * 



mpnu^anumunwnaat 

u m : . '■■■ ■ ' '■■ 
::■ : : ■■■ ■';■"■■■ 
■:;-'''■■■ ■ ; '■■■' 



■::■ 



■ : :■■■ ■ : ::«bh:: 
■ ■■' ■ 1: :■■■::■ 

PPBBBPB' inPMMBPBn 

,n«B«nHpnn«H«nBnn 
iMBBPBua: Miinar::; 



CBnccr 
bl:;:;;::: 
pp; :;:; ;■ 
[.:::: .: :■' 
:: ■' :■ 
::::■, ■ 
n«P«p- 



:pph 

:n»n 
■_■ 
■ -i: : 



::■' '■::: 

■ ■::::: i 

■nwnppp 

n»nnppn 

sdmpp: :::::■ ■..: :■ 
■ a. ■ ...::: :■:: 

:; :■::■. .:;::::: :■: ■ 
:: ■ ■ 1: :: ■ mi 
pnn«PMtJi.i;.;::p»: :bplj 
naBPMPPPpa«PBPpn 
nBnBPnnppMPMDnnn 
•■□■□□PunBDMpnnnn 

1 8 

Fig. 69. 



Ma*pnan«*n«nnnnB 

;:■:::: ■■: :■: :: ■■ 

■annpBBPBPPnnBBP 

■ ■■:::: ■■ ■ 

pppbk :■: : .ppm: ■: : 
Da«B:j«pann*BPBPP 

PBBnBPnPPBBCBPPP 

■■: .■.:p:_:pbmpbp: ::::j 
>■. ■' :• :::■;■■. ■ :. .: o 
an 1; ;:;:;■■: :bp: !::::■■ 
■nnnnHHPHPDPPBHP 

DnnnMHPHPDPDHHDH 

nnpBMPBDnnnBBnBn 
ppBBPBnnpPBBPBPn 
• :■■ ■:;: :: ■■ ■: .::; 
!■■ :m: :.::.:. .mm: ■: 



Fig. 73. 
2 I 



PPBBPM 


■: :: :: :■■ 


IPBBP 


PBMnMl 


:: ■■: 


:■»:.: : 


■m: :■■:: 


p; ;■■:'! 


b ;l;: . 


■ ■■ . 


■ ■: bi 


1: :: 1: m 


: '■■::::': 


■ ■ ■■: 


:: 'bb 


■■p:T;« 


■ .■■: : 


.: bb:: 


■PPCBi 


mm .. 


.BB. B 


:p: :■■' 


■■: ' ::i 


B BB 


SPPBBPB 
PMBPMB 


:::. bb: 


1 BB 

:■■'.: . 


■ ■ ■■ 

■: :■■: :: 


: ■■ ■ 

BB Bl 


IB .. 

1: .: :: a 


: :■■ :: 


IB BB 


: bb 


■ ■ :: :. ■ 


■ : bb :: 


.: bb: 


■ : ::■■ 


bb 1:: 


BB B 


1: ::.:;.:■■. . 


BBU^Ul 


IBPBB 



Fig. 77. 



anPDBnDBBnpQBPPB 
nnPBnnBBPPPBPPBB 
DPBnnBBpnnBPPBBP 

: a ' :bbp; :dbppbb:;: 
b. : bb :::: b bb .. 
unn::: ::~b: : bi: 11 :ni 

BB :: " B ' BB . B 

bb:: ' a .. bb.: : :i::: 

B B BB B B 



::b:: bb .: b :. :bb::p 

B BB . I ■■ 

1 : .bi : :: a .: bb : : a 
1 bb .: : a ;; ■■ 1 1: a: . 

IBBUUUBPPBBnnPBPP 
1 8 

Fig. 81. 

2 I 
//. 

3 2 



B1B~B 


^~BI 


a a a 


ni: a . 


BB 


:bpbpobb 


i' ngi 


IB 1 


PBnnBBP 


: a : ■ 


I. a 


IBPPBBPB 


a : :■■ 


a 1 


: bb a 


::: :■■ 


■ a 


: bb a. a 


bb :■ 


a : 


'bi a a ' 


BB' I' 


■: :: 1 


a a a: 1: 


m a .■ 


■ Bl 


IPBPBPPB 


: '■::■ 


BB 


a a : aa 


■ :■ : 


IB 1 


IDBOCMBn 


::■' :::■ 


■ a 


IBPPBBPB 


I' 1" 'BI 


a 1 


[ : aa a : 


mil' 


■ B 


IB H B 


: bb :■ 


B 


bb :■' :■' : 


hi a 


a ;i 


ib::b::b: :.: 



BBBBaaaaaaflB 

PBBBBBPBPBBBBBUB 
BBBBBPBPBBBBBPBP 
■BBBPBPBBBBBPflnB 
BBB. B BBBBB B .BE 
BB B BBBBB B ■■■ 

i a bbbbb. a: nail 
i b bbbbb b bbbbb 
b bbbbb b bbbbb 
dbbbbbpb: .bbbbbpb 
bbbbb □ bbbbb b ,' 
bbbbpbi bbbbb b b 
bbb b bbbbb b. ib 
bbpbpbbbbbpbpbii 

B. B BBBBB :BliBBBB 
1PBPBBBBBPBPBBBBB 



Fig. 70. 
I 5 



B ■■■■ ' B BBDB 
BPBBBBPPBPBBBBUP 
PBBBBPPBPBBBBPPB 
BBBB . B BBBB .: B 

bbb. .: bbbbb a: 1 



b: : a bbbb . b: .bbb 
: a bbbb ': ■::■■■■ 
-. 1 bbbb ' a: BBBB 

B BBBB .' B BBBB 

: bbbb: a .bbbb ' b 
bbbb ■:■■■■::■ 

BBB. :. ■■■■■■ B 

BB B BBBBB IBB 

a bbbb :: .a: bbb 
ippbpbbbb. ,::b 

1 8 

Fig. 74. 
1 4 
2 1 



11. 



MnninDBBipniDDB 

BP'.'ia. ::.:bbb:j::bp::bb 

a bbb: ' a : bbb 

a: : ■■■ . a: :: bbb. : 
a ::bbb :: a bbb :: 

: bbb b ' bbb : ■ 



:■■■: 
■■a ' 

BBB 



: ■■ 

HiiilP: PPBPPBBBi 

a .. :iii::iiinnMinn 
' : bbb a BBB - 1 
: ibb' : a .: bbb: . a:: 
ibbb .: :b:;pbbbppb:jp 
1 8 



Fig. 78. 





3 
2 


I 

U. 
2 






bbb- 


IBP 


: BBB BB " 


bb::! 


■ 


bbb: :n.: a 


B IB 


. I 


bb: bb .. BB 



I BBI BB 

BBB BB 
BBS BB 



Fig. 82. 
3 2 



PBPBB B 



a :::■: aa a: :: a bb : 
' a bb i' : i' aa: 1 
. u uu m m ,, a 

ia aa a a aa a 



Fig. 84. 



Fig. S5. 



22 

Figs. 83 to 86 inclusive are the even-sided twills on 8-harness. 

The same method observed in designing every common twill possible from 3 to 8 warp- 
threads in repeat, as shown, is continued for twills of any higher number of harness repeat. 
The more harness we can use, the larger the variety of twills which may be obtained. 



Combinations of two or more Colors for Producing different Effects upon Fabrics 
interlaced on the " Twill " System. 



In this system of weaves an endless variety of effects are produced by the different arrange- 
ments of colors. The same are extensively used in the manufacture of ladies' dress goods, fancy 
cassimeres, fancy worsteds and similar textile fabrics. 



Arrangement 

of 

"Warp. 





■■ 














1 










" 








s 

" 


a L ; 




! 



■ 


■ 


■ a 


s 






j 


■■ 


■ 








'; 






a 


















L 






| 



1 1: ■■■ 1: aa 1 .he 

:> a 

■ aa aa : iac 

:;:: :;.: sss 



ss 

ss -a 

ss 

s 

:a ■ ] 



In Fig. 87 is illustrated the 3-harness twill f 

applied to 2 ends light 
1 end dark 

3 ends in the repeat for the color arrangement of 
warp and filling. The interlacing of the different color threads 
is arranged so that each color, in filling, covers its own color 
in the warp ; hence the dark filling must be interwoven in the 

shed, which has all the dark warp-threads in the lower part, and all the light warp-threads raised. 

The effect represents what is technically known as " hair line." 

Weave Fig. 88, illustrating the 4-leaf twill ^ r , can S""isa" ss aa ■ 

also be used for producing a " hair-line " effect by using for 
the color arrangement of the warp and filling 

3 ends light, 

1 end dark, 

4 ends in the repeat. 
The dark filling has again to cover its own color in the 

warp to produce the required effect. This weave, (- j), can also be used in an arrangement ol 

2 ends light, 2 ends dark, in the warp and filling, for producing a " line " equally as heavy as the 
ground in the direction of the warp for effect. 

Fig. 89 illustrates the effect of 

2 ends dark, 
2 ends light, 

4 ends in repeat of color arrangement 
for warp and filling, upon a fabric having the 4-harness 
even-sided twill for weave. The placing of the colors as 
represented in the latter effect, will prevent the filling from 
showing more prominently, than the warp. The principle observed is, to place one of the light 
picks in the shed formed by light color down dark color up; the other light pick is to be inter- 
woven when half of the light and half of the dark warp-threads are up, and the remaining one- 
half of each are down. 

Fig. 90 illustrates a " zig zag " arrangement for effect, as produced upon a fabric interwoven 
upon the 4-harness even-sided twill with a color arrangement of 

1 end light, 

1 end dark, 

2 ends in repeat for the warp and filling. 



J. 



■ 

a a a is 1 

a a. ia. 1a 1 

as aaa aa 

si: a a 

■ as aaa asa sss ■ 

j a a a 1 

as s ssa aaa aa 

. a a a 
as aaa aaa aaa 

aa a aaa aaa isa 

:. ; ;_. 1 :a 'i a> ; i a. ■. 

as sss ssa aaa 

Ljujuaij^'jaujuauULV 



aa as sss sss 
as as as i 

.as . aa aaa aaaua 

Fig. 8q. 



■■■^HnnH"H"Tnm 

Su bss : aav.Maa 
i ••:;:: t : aa . » a 
■■■aa s 
j ■■■ ' n_ 



Fig. 90. 



Fig. 91. 



23 

Fig. 91 represents a " spot effect" obtained upon a fabric interlacing with the 5-harness - — — - 
twill. Color arrangement for warp and filling to be 2 ends dark, 3 ends light. 

Fig. 92 illustrates a "zigzag" arrangement for "■■"■□ : aVa : o]a 
effect, as produced upon a fabric interwoven with the ■■■"■"' '' 

6-harness even-sided twill and a color arrange- " 3l: "■'•""'■•■ l< il S 

ment of 2 ends light, 



■■■ 

■■ ■ 

■ ■■ 

■■■ 

■■■ 

. ■ ■■ 

a a a 



aaa a .a a :::::na 



I end dark, c::::: ;< il - ::::: 

_ aba a aaaaa 

3 ends in repeat for the warp and filling. Fig. 93." 

Figs. 93, 94 and 95 illustrate similar effects pro- 
duced on a warp and filling arrangement of 
KlG - 9 2 - 1 end light, 

1 end dark, 

2 ends in the repeat. 



aa a a 
a a a a 
a a aaa a a a a a 

a a aa :: 

a aa aa 

a aa a 
aa a a 

aaa aaaaaaa a :: a aaa 
aaa aaaaaaa a a a aaa 



:::::::: 
aaaa 



Fig. 93 illustrates the fabric produced with "aa'aW 

the 5-harness 2 , ' 1 twill. I™ a a H 

Fig. 94 calls for the 7-harness " 1 ' , ' — r " :::: II II II ":««"«":";; 

twill, and Fig 95 for the 9 harness 2 / ,' ,' — ' ' r.. ........ 

twill. :::::: aaaaaaa:::: a :.; a 



aaa aaaaa :a .a iaun 
Fig. 94- Fig. 95. 

In diagrams Figs. 96, 97, 98 and 99, four specimen effects of three-color arrangements in 
warp and filling are given. Such combinations find extensive use in the manufacture of fancy 
cassimeres and fancy worsted suitings. 

■nrB«-"Bonnnnnnnnnnnnnnr" nnn 

1 ' aa' aa 

IBB BB H1S1U iK*B .Tf.HB ' iH.SB 

BB BB '**B **a -MB **B 

!-bS b -b™ 8ffl " **" S!e " QB " F'g- 96 illustrates the effect derived from the even-sided 

si" I" * a *i 4-harness twill, by the following arrangement of warp and filling: 

*s** •:. »:•■> ■:■•:■« .>:-vB>>»>:< . .. . -. , .. 

B»a ■■">!siS!.'\;:iii' : ' aaa 2 ends light, I colorNo. I. 

sm&a - l':.B ***a****ifji IS 2 en ds medium, V Ol', " No. 2. 

' aaaa bb|*bb " ':'■■ '' ■■■ bb|S I end dark, J " No. 3. 

, llll .• : >fs' : - :: "l||''.||| B g|l: 5 ends repeat in color arrangement ; thus, 5X4 = 20 

threads, repeat of effect. 



* •:■*•-- **b ■:-■:-■:•■■:■■>>>:■ 
.1 J bbb iiei 

Fig. 96. 



■:••:■■:■■ 
_ _'■:■':■•:■■:■ 

BB *DB 



a 
■a i » i f ifflfflEei'BBBBam** 



, . , , -, 



Fig. 97 illustrates the effect derived from the same 
weave as used in the foregoing example, with the follow- 
ing arrangement for warp and filling : 

4 ends light, 1 color No. 1. 

4 ends medium, | " No. 2. 

4 ends dark, I ' " No. 3. 

4 ends medium, J " No. 2. 

16 ends repeat in color arrangement, and as 16 
is a multiple of 4 (repeat of weave), 16 threads are also 
the repeat of the effect in addition to color arrangement. 



■ ■■ 


1 ***©■ 


■ ■ 


■■:-•:■■:•■:• 


•>■>*-:•■■■■•■ ■ ■ 


! ■■ ■■ 


■ 




^"^ 














f~; ;m y i: 1 


•:••:/ ■ 


■ 
■ ■ 
■ 


■ v ©s 


a© ■■ ajfB 

©e ■■ •:•*, j 

as bb ** 1 1 




******* 


■ 
■ ■ 


■vVvv-;-: 


• ■ *****•:■■■■;■■:""•.■ 
•:•':■•:->»■■■:•-:■■:■■ 


■■■a 

■■■■ 


■ ■■■:•■:•■■ 
■■'>:•■■■ 


■ ■ 


IflvvSJ 

■ :. -jh 






******* 


■ ■ 


aj ;..;..-. .;..-,. 


■ ■■^•>>3ffl 


ts< t *■ 


■ 


■ 


* *■ ■ '■* i IS 




SH3 ■ 


■ 




■a 


' §iw< 




■ ■ 
■ ■ 


■V':":":'";" : 


_ ■»»>:•■■►»:->: 











I 



■ ■:■■■•■•::■■ ■■::■■■■■■.: 
~~ llllll " 

■■■■BB 



**** -i- **•>»:• 



■:-■:-•:--:■-:-•:■■■■>:■-:•■:■>:■>:< -i^.;..:.! 

_ s«-:-M»»«»:-i •»:••:■•:■■ 

•x»>:-:->i|.:~>:-:»X' v»i:.MM'K-:~:»:»i 



Fig. 97. 



24 



■ H ■ 

BBS 
■ ■■ BB BB BB BC 

■ ■■ j ■:■ •:■ : ■ ■:■□ 

■■■ • ■: ' 

Baa 
i. ,m ffli ir-n ibub i in« 
'■■■.' 
!... BB bbb ■:■■■■■ bb 

■ b a b 

BIBB BBB: BBBBB. IBB 

>:• a * '■ 

■■■. ■■:■ 

BBI BBB <:<BBBB IBB 

■ b n •!• 
v 

■a : ibbbbb jbbbbd 

Fig. 98 



Diagram Fig. 98 illustrates the effect derived from the j 6-harness 

even-sided twill, by the following color arrangement : 
1 end light, ^ color No. 1. 

1 end medium, V or, " No. 2. 
I end dark, j " No. 3. 

3 ends repeat in color arrangement, the same repeating 
twice in one repeat of the weave, also, one repeat of effect in fabric. 



BBI 


•!..:-.:ib 


BBB 




■BB 




1 

[ : :■ : 

. 

: mm 

; -FES 

< am 


.. ?''t m 


i ■ 
[mi 




1 am 
1 bb 

l BB 
1 BE 

U ' 1 

1 


■■■O'I-iii 

BBBB 


i BE 
1 


■ BB-i"i'>:'aaB 


pseGC 

: bb 
1 BB 

BB 


BB ' {-!'■■■ ' 


{'.'■■■ - 

1 BB 
' BB 


■ ; ■ BB '■ 
B ' C'BBB 


1 <~.~ 


BB 
**B 



BBBBB BBBB 



■:• ■:■■:■ ■:• 

BBBB 



:■■:■■:•■■:■■:■■:■■:-■:■■:•■;■■:■•:■ ■:■■:■■:■■:■ 
I'vWX' ■•:'.:-•:.>:■■:• .:-.:--:-.j 
:■•:••:■.:■■:• ■:•-:■■".":■ bbbb 



o.:"X'i>X'vv 



■:■:■•:■■:■ 

■:••:••:•□ 

oaivl 



■>:-vvvE]>:-;'-:-v-;-v.:i 
bb:-:-c( :bbo~ 

Fig. 



Fig. 99 illustrates the same weave as used in 
Fig. 98, arranged for 

3 ends light, ^| color No. I. 

3 ends medium, > or, " No. 2. 
1 end dark. ) " No. 3. 

7 ends repeat in color arrangement, and as 
this 7 is no multiple of the 6 (repeat of weave) or 
vice versa, 7 X 6 =42 threads in warp and filling 
are required for one repeat of the effect. 

In diagram Fig. 100, a specimen example is 
given of 3 colors arranged in warp and filling upon 

the j 4-hamess twill for producing a hair-line 

effect, as used in the manufacture of woolen and 

. !_M«LJl_Jl_Jl: 

worsted trouserings, etc. 

Arrangement of warp and filling 
2 ends light, | 
1 end medium, > c 
I end dark, J 

4 ends in repeat. 

In placing the filling in this present sample as well as similar effects, each individual color 
in filling must cover the same color in the warp, according to rules given for producing effects with 
two colors. 

It will be seen by the student that these effects, until now produced with two or three 
colors in each example, can readily be extended to effects with four or more colors in warp, or in 
filling, or in both systems combined at the same time. 

The effects shown in Figs. 90, 92, 93, 94, 95, 96,97, 98 and 99 are designed on the basis 
of equality of texture in warp and filling, as also of similar thickness of thread for both systems ; 
therefore, any changes in one or the other will have a corresponding influence on the effect. 



■^'JUBBJUBBUUBBJ^BI 

Fig. 100. 



color No. 
" No. 
" No. 



Satin Weaves. 



Satin weaves, also technically called satins, are without the prominent lines which are 
identical with the regular twills ; consequently satins are characterized by a smooth face. In twill 
weaves the points of intersection follow consecutively, but in satin weaves this is not the case ; they 
being arranged to interlace at intervals of one, two, three, four or more threads. The principles 
for the construction of satins are to arrange as much as possible distributed stitching, and to have 
it done at the same time, as regular as possible. The more scattered we can arrange the inter- 
lacing of the warp and filling the less these points of intersection will be visible in the fabric. 
The lowest satin that can be produced is found in the five-harness satin ; after this the same can be 
made " regular " on any number of harness, with the exception of six. The four-leaf broken- 
□□■□□□■n twill is also sometimes classified as a " satin," but against the rules of construction 

□□□■LjrjCIM ..... . . . 

SSBnSnnn f° r these weaves, as on two successive picks the interwoven threads are next to each 

4 nR5SBB53 other (see Fig. 101). The points of intersection of the numerous satins are found by 
□■□□□■□□ ,,,,., 
i«nnn«ncin the following rule : — 

Fig. ioi Divide the number of harness for the satin into two parts, which must 

neither be equal nor the one a multiple of the other ; again it must not be possible to divide 

both parts by a third number. After finding this number (which is technically known as 

" counter "), add it, commencing to count from one until all threads or harness are taken up. 

For example: Find satin weave for five-harness (5 equals 2 plus 3); commencing to count with 

one and adding always two points we find : 

l-|-2 = 3 + 2 = 5+2 = 7 or 2 + 2=4 + 2 = 6 or 1 giving the points for intersection 
in the weave as 1, 3, 5, 2, 4, which means : 

The first pick intersects with the 1st warp-thread (1st harness up). 



second " 
third " 
fourth " 
fifth 



3d 
5 th 
2d 
4th 



(3d 
(5th 
(2d 
(4th 



This construction is illustrated by 

Fig. 102, in its principle (arrow S indicating the rotation of picks, arrow O indicating the 
counting off of warp-threads for each successive pick). 

Fig. 103 illustrates the same, applied to the regular designing-paper, being filling up or 
a b filling for face. 



5th pick. 



4th 



^1 3d 



4 
2 1 

5 
3 

1 1 



::::::■• :r: ■;:■:: 
::■ ;: :: :■: :: 
.::■ :. :: :: :■ 
::m:z:::: ■::. . 
■ .::::::■::: 
5nnnMnnn^B::i 
::■: :; :_:■ :: :: 1 
.::::: :■:::::: :■ 
■ ■::. :□::■:: 
mss. ::.:■.::::;: J 
1 5 

Fig. 103. 



Fig. 104 illustrates the same changed to warp 
up or warp face, by simply exchanging "sinkers" 
(down) to ''raisers" (up). 



■■■■■■■■ 
■ ■■■■ ■■■ 
■■■■:■■■■:: 
■■■■■■■■ 



■■■■■■■■ 
1 5 

Fig. 104. 



(25) 



26 

Fig. 105 illustrates (enlarged) a fabric interlaced 
in the 5-harness satin, constructed as explained 
before. 

The 5-harness satin, as well as other satins 
produced with any number of harness, can also 
be obtained by constructing the design lengthwise ; 
in this case (taking the 5-harness for example) we 
find 

The first warp-thread must stitch in the 1st filling, 
" second " " " " 3d " 

" third " " " " 5th " 

" fourth " " " " 2d " 

" fifth '* " " " 4 th " 

This construction of the 5-harness satin is illus- 
trated by 

Fig. 106, in its principle (arrow S indicating 
the rotation of warp-threads, arrow O indicating the counting off of warp-threads for each 
successive pick). 

Fig. 107, the same, applied to the regular designing paper. 
Fig. 108 is the same satin warp up or warp for face. 




5th pick. 
4th " 



C>| 3d 
2d 
1st 



b 

5 

4 

3 

2 2 1 

1 1 2 



££ 



s 

Fig. 106. 



Filling for face. 

□□■□□□□■□□ 
□□□□■nnnrjB 

n!:ninnnnin 

nannMnnnnM 
n«nnan«aun 
□□DMnnnnaa 
lBunnnannnn 
1 s 

Fig. 107. 



■■nunon 
iiii una 
■ ish: in 

bbb: :■■■■."« 

BIBB ling 

«i::bih:.h 

■BIB BBBB 

b:::bbbb:]bbb 

iiidiiiidi 
lniiiiDiiii 
1 5 

Fig. 108. 



A careful examination of Figs. 103 and 107 will show, as the only difference, the "satin 
twill" (which later on will be more particularly described), but taken in a general technical point of 
view, for constructing weaves both are identical. The first-mentioned rule, counting off the picks 
in rotation and the harness (or warp-threads) according to the "counter" obtained, is in general 
use. 

Design shown in Fig. 107 would also have been obtained by the first rule in using the other 
part the 5 is composed of, namely, the 3 for counting off, thus 

1+3=4+3 = 7 = 2+3 = 5+3 = 8 = 3+3 = 6=1, 
or the stitch as 1,4, 2, 5, 3. 



27 



For 6-harness (6 warp-threads for repeat), as already mentioned, no regular satin is 
found, as 6 can only be divided in 2 plus 4 or 3 plus 3, □□nMnnnnnMnn <!*■■■■■■■■ 

which numbers are against the rules for constructing satin 
weaves. Being sometimes compelled to use a satin on 6- 
harness we must use the next best to a perfect satin as 
found in 1 — 3 — 5 — 2 — 6 — 4, illustrated in Fig. 109, 
filling for face; Fig. no, warp for face. 



□□□□□■□nnnnu 

::■;:::: : :■ :.: :j 
n; ;rn ;■; 11 :: :: ::.:■:! 
:. ■ ii li i: :: ;■: :' :' 1 
■ ,: !i :i i .■_;::]:::.:: 1 

c: : .. ■ 1; :. ::.w::i 
n:jii!'ii ■■: ::il;:j:::b. 
lm.s. iur.in«.:.:: inn 
t:: :. : :■' ::; ■' 1 
r '□■:.:: : ni :■::::: 

tunaaaumnnana 



For y-harncss two regular (perfect) satins are found 
by dividing 7 into 2 plus 5 and 3 plus 4. 



Fig. 109. 



:':;■::: :~: :■ : 
□□■□□nnnnannn 
:;■;;. : ■■ ;. ;; 
Counting off for the first kind we get by using the 2 nnnnSnnnnnnSnn 
^ _ _ «. - 1 ;i :■: 11 muni ;■:.::. ..; 

for counter : 1 + 2=3+2=5 + 2 = 7 + 2 = q = 2-i. *nnnnnn*nnnnnn 

r:: !:'!■:.;:_;::• ::.a* : 1: 1 

::b:i: ;: 



4+2 = 6 + 2 = 8 =1, or 1, 3, 5, 7, 2, 4, 6, and illus- 



:. nnn~.ii 



trated in Fig. 1 1 1, filling for face ; Fig. 112, warp for face. □□nnBnnnnnn*nn 

b ° b > t- BnMnnni r nMnn; 

iHnnnnnnmnnnnnn 
1 7 

Fig. hi. 

nnnnBnnnnnnMQn 

□■nnnnnnTJonarj 

x ,, . ,. . , ,. ,- , , nDnncMnnnnncwa 

In the construction of the other satin for 7-hamess and gggggggBjjjgRjjjS! 

using the 3 for counting off we get 1 + 3 = 4 4- 3 = 7 + SBB3BBBS8BSBB! 

3 = 10 = 3 + 3 = 6 + 3 = 9=2 + 3 = 5 + 3 = 8 = i, ^BBSBBBSBBSBB 



Fig. 1 10. 



■■■■■■■■■■■a 
■■■:■■■■■■■■■ 

■ ■■■■■■ '■■■■■ 
■■■■■■: bbbbbb 
aaaa :■■■■■■: ■■ 
bb Baaaaa ■■■■ 

< bbbbbb ■■■■■■ 
■■■■■ ■■■■■■ ■ 
hbb. bbbbbb ■■■ 
■■■■■■■ •■■■■ 

■ ■■■■■ ■■■■■■ : 

■ ■■■: .■■■■■■::■■ 

■■■■■£■■■■■■ 



Fig. 112. 



a bbbbbb ■■■■■ 
■■■■■: ■■■■■■■ 
bb bbbbbb: :bbbb 
bbbbbb. bbbbbb : 
■■■::■■■■■■;■■■ 

! aSBBBB ■■■■■■ 

■ ■■■ I 

B ■■ ■■• 

bbbbb: bbbbbb: :■ 



Fig. 113. 



Fig. 114, warp up. 

For 8-harness we find only one perfect satin 

as the S can only be divided into 3 plus 5. The count- 

rr r ^ ^ ■ i , ,• -11 , Bgnnnni::: :: a ;; in: ; 

ing off for the design, always adding 3, will be as nnnnngBnnugnnnr 

follows : 

l+3=4+3=7+3=io=2+3=5+3=8+3=n 
=3+3=6+3=9=1, or I, 4, 7, 2, 5, 8, 3, 6, illustrated 
in Fig. 115, filling for face; Fig. 1 16, warp for face. 



Fig. 114. 

■■■■■□■■■■■MB^M 

ai ■■■■■■■ ■■■■■ 



nncMnnnannni 

■: nnn: : :: :■: : 
x: i :.':: :■ :■ 

■ ■■■•:■ 

1 :n : :. * : :: inn: 7: :■ 

' ::;■;■' ;■ ■ ::m: : 1 1 

■ .::': :: ■ :n: 1: : 

a : ' ■:::: man 

' '•■':::: nnnnMnnnn 

iwnnnnnnnMBnnn n nn 



Fig. 115. 



• ••■ ••• ■■ 

■ ■■■■■■■ ■■■■■■ 
■■■■■■£■■■■■■■:!■ 
bbb bbbbbbb ■■■■ 

■ ■■■■■a. ■■■■bib 

■ ■an ii 

•> ■ ■ 

•"■Ill BBBBBBB 
■BBS BBBBBBB BBS 

■ BBBBBBB ■■■■■■ 
■BBBBB BBBBBBB B 
BBB BBBBBBB BBBB 

1 BBBBBBB BBBBBBB 
1 S 

Fig. 116. 



Upon g-hamess, we can design two different satin weaves, for the number 9, 
in accordance with the rules, can be divided into 2 plus 7 and 4 plus 5. 

Commencing to count off with 2 for producing the first kind of satin we 
get: 1, 3, 5, 7, 9, 2, 4, 6, 8, which is illustrated in filling for face in Fig. 117. If 
requiring warp for face read this as well as any of the following designs, illustrated 
in succession up to 1 6-harness, n for raisers (up), ■ for sinkers (down). 

Commencing to count off for the second kind of satin weaves on 9-harness, 
using the 4 for counter, we get: 1, 5, g, 4, 8, 3, 7, 2, 6, which is illustrated in 
Fig. 118. 



snnnnnnnan 
■ ■':.::::■ 

■ j 
IB. ; :: :nnn 

.::.:::: :■::.. 

-n :::■::: ::j 
ti :b: 1:1 ;: : n 
ijpnnnnnnn 

Fig. 117. 

snntnatMnnn 
nannnnnn: 

:n: :■:. 
n::«::::nz 
;,: :"i:j::::::b: : 
1 in: :b:i:i:::::: . 
1 : 1" b 
1 in: : ■ " 
mnnnnnnnn 
1 9 

Fig. 118. 



For 10-harness one regular satin is derived by dividing 10 into 3 plus 7. 
Counting off with 3 gives 1,4, 7, 10, 3, 6, 9, 2, 5, 8, as points for intersecting. 
The design for it is illustrated in Fig. 1 19. 



„,.... ..... :b: - ::j 

:;■;:•:■ . r:n 

iib: :. :. i 

: : a i 

,. ., , m ..... 

!;■::: :n 

B 

. ■■:;■; 
■ ■ ■ 
■■nnnnnnnnn 



10 



Fig. 119. 



28 

iinnnnpanannn 
nnnnnnnnnnS For n-harness four different perfect satins can be designed, by dividing the 

□aSBBBSBBBB 1 1 in 2 plus 9, 3 plus 8, 4 plus 7, 5 plus 6. 

annnnpinnnnn The counter most frequently used for the 1 1 harness is 4, giving the 

BBBBSBBB5BB points for intersecting as follows : 1, 5, 9, 2, 6, 10, 3, 7, 11, 4, 8. 
1 u The design for it is illustrated in Fig. 120. 

Fig. X2o. 



i2nnnnD0nnnann 
nnnnnn: iddlibh 
□□□■nnnnnnnn 
□□□ra: ::z^m:j.i:u 
nHnnnnnnnnnn 
nnnnnnMnnnnn 
□□nni-JHiruannM 

□nnnnannnazn 
nn*nannnn:;™: 1 
nnnnannmnnna 
lMnannnnnnnna 



Fig. 121. 



12 



nana: ;i nnni :;.r a 
nnnnnnnnnni:B:j 
□□□n jnannonnn 
□■□□nixiununng 

nnnnnnnnDB^an 
□□□□■nrju;;:i:j :: : 
nnnnnnnnn:.:: : n 
nnDnsa;:i:r:: i 
nnmnnnDunnnnn 
annni :;.;n:;:T :■::: : 
nnnDPBani r. ana 
lBDnnnnnnnnnnn 



Fig. 122. 



1:; 



For 12-harness only one perfect satin is found by dividing the 12 into 
5 plus 7. Counting off with 7 gives the points for intersecting as follows: 
1, 8, 3, io, s, 12, 7, 2, 9, 4, 11, 6. 

The design for it is illustrated in Fig. 121. 



For ij-kamess we find five different perfect satins by dividing the 1 3 into 
2 plus II, 3 plus 10, 4 plus 9, 8 plus 5, 6 plus 7. 

Counting off with (the number most frequently used) 5, we find the in- 
tersecting points to be 1, 6, 11, 3, 8, 13, 5, 10, 2, 7, 12, 4, 9. 

The design for it is shown in Fig. 122. 



1 4UUUUUUULUJ MBDnn 

1 j- :. ■ 

nnnnn nrii n n innn» 

SnnnnnnDMnnnDn 

□□□■: :::: ;nnn::r:: . : 
n: ~: : : :;u: ~ mu 
nnnnnnn«: 1: 1: :u: j: 1 
nn»nnnnnnnnnn::i 
nnnnnrj;_:n: .: :: :■:.:: ; 
nnnn ■ 
nMnnanDannnnnn 
nnnnDnnnnnBnnn 
nnjuTJBZ-aDapac 
mnnnannnnnnnnp 



Fig. 123. 



For ij.-harness we find two perfect satins by dividing the 14 into 3 plus 
11, and 5 plus 9. 

The design most frequently used for this number of harness, and which 
is illustrated in Fig. 123, is derived by counting off with 5, as follows: 1, 6, 

11,2, 7, 12, 3, 8, 13,4, 9, 14, 5, IO. 



For 15-harness three different regular satins can be made, as 1 5 can be 
divided into 2 plus 13, 4 plus 11, 7 plus 8. 

The number most frequently employed for counting off is 4, which gives 
the points for intersection as 1, 5, g, 13, 2, 6, 10, 14, 3, 7, II, 15, 4, 8, 12. 

The design for it is found in Fig. 124. 



i5nnnnnnnnann*nnn 
nnnnnnn*nannnnn 
Snnnnnnnnnnnnnn 

: :zci:::: :;_::::::: :~. :~::m 
nnnnnnnnnn»nnr:n 
nuxr.Ma.nnnnnn 
□□■□□munrjDrinnin 
□□□□□□□□□□□□□■a 
nna: :: :: inunMn: :j: :j 

nMnnnannnnnpHan 
HnmnannnnDrMnn 

nnnnnnnaannnnnn 
nnnnanannnnnnan 
lMnnnnnnnnnnnnnn 

1 15 

Fit;. 124. 

i6ntxDnnnnnnnnn»nn 
uuuu aDnnnnBnannq 

nnnnnnnBnnnnnnnn 
nnnnmnnnnnnnnnnn 
BanLiDDannnaBnaDB 

■ _ ".::::: ■ 
uu~~'. ;: :□: iujar: :::;:i 
□nnnnnnn*nnnannn 
nnnnnMnnnnannnnn 
:ekp: :::. . : : iq 1 a : 
nnnnnnnannnnnnnB 
nannnnnnnnnn«nnn 
: ;: ^iz:: :: :: : :■□£!□□□□ 
nnnnna*nnnnnnnnn 
nnnwnnn:. nnnnnann 
lBnnnnnnnnannnnnn 

1 16 

Fig. 125. 
After the method given thus far for finding the different satins from the lowest number of 
harness (the 5-harness) up to the 16-harness, it will be easy for any student to find the different 
satins for any number of warp-threads in repeat, (harness) that may be required. Those given in 
our lecture will comprise those most frequently used. 



For 16-harness three different satin weaves can be designed by dividing 
the 16 either in 3 plus 13 or 5 plus 1 1 or 7 plus 9. 

Using the number most frequently employed for counting off the 
points for intersecting warp and filling, which is 3, we find 1, 4, 7, 10, 13, 
16, 3, 6, 9, 12, 15, 2, 5, 8, II, 14, as represented in design Fig. 125. 



29 







Table f 


or finding the Satin Weaves most frequently 


used. 
















Number of 

HARNESS. 

i 




SUCCESSION OF STITCHES. 


1 


NUMBBK FOR 

( OUNT1NG 


5-harness... 


1. 


3- 


5- 


2. 


4- 


















1 


2. 

O. 


6 " 


i. 


3- 


5- 


2. 


6. 


4- 




















7 " - 


I. 


3- 


5- 


7- 


2. 


4- 


6. 














2. 


3- 


8 " ... 


*■ 


4- 


7- 


2. 


5 


S. 


,v , 6. 
















9 " 


i. 


3 


5 


7- 


9- 


2. 


4- 


6. 


8. 




J 








2. 
3- 


IO " 


I. 
I. 


4- 
5- 


7. 


IO. 


3- 


6. 


9- 
3- 


2 ' 


5- 


8. 

4- 


8. 












ii " 


9- 


2. 


6. 


10. 


7- 


11. 








! 


4. 


12 " 


i. 
I. 
i. 


8. 
6. 
6. 


3- 


IO 


5- 


12. 


7- 


2. 
10. 
8. 


9- 


4- 


11. ! 6. 

I 






7- 


13 " 


Ii. 


3- 

2. 


8- i 13- 

' 

7. 12. 


5- 


2. 


7- 


12. 4. 
9. 14. 


9- 1 




5- 

5- 


14 " 


ii. 


3- 


13- 


4- 


5- 


IO. 




j IS " - 


I. 


5- 


9- 


13 


2. 


6. 


10. 


14. 


3- 


7- 


11. 


'5- 


4- 


8. 


12. 




4- 1 


J i6 '■ 


I. 


4- 


7- 


IO. 


I 3 . 16. 


3- 


6. 9. 

1 


12. 15. 


2. 


5- 


8. 


II. 


14. 


! 3 - 





Fig. 126. 

Influence of the Twist of the Yarn upon Fabrics interlaced with Satin Weaves. 

To produce certain effects on fabrics interlacing on a satin weave the same may require a 
certain twist of the warp or the filling, or in both systems. Fabrics made on a satin weave may 
for their effect require the satin twill to be more or less visible ; again it may be desired to see 
none at all. Therefore in all cases, before deciding as to the direction and amount of twist to be 
put in the yarn for any kind of a fabric to be made with a satin weave, we must consider whether 
the face is to be formed by the warp or the filling and whether the satin twill is to be visible or not. 

For example: Take a fabric to be made with the 5-harness satin. If we have to use warp for 
face and want the satin-twill effect distinct, we must use the design shown in Fig. 104 with a war]) 
yarn twisted to the left. If we want to produce a fabric requiring a smooth face, as doeskin, 
kersey, beaver, etc., and have the warp yarn twisted towards the left, we must use the design 
illustrated by Fig. 108. 

Arrangement for Commencing the Satin Weaves for Special Fabrics, such as Damask 

Table Covers, Towels, etc. 
In fabrics where " warp up " and " filling up " satins are figured as in previously 
mentioned fabrics, we have to change the commencing of the weave from the beginning 



30 

with one, so as to get a perfect joining, respectively cutting off from the warp effect to the 

filling effect. 

In this class of fabrics the weave must commence in the following manner : The last 

warp and filling thread of one effect must work in an opposite direction to the commencing of 

the first warp and filling thread of the other effect. Hence the 5-harness satin for such fabrics 

will be 4, 1, 3, 5, 2 (see Fig. 127). The 8-harness satin will read 3, 8, 5, 2, 7,4, 1,6 (see 

Fig. 128). The 10-harness satin 7, 10, 3, 6, 9, 2, 5, 8, 1, 4 (see Fig. 129), etc., etc. 

□Mnarj ■□■■■■□■■■■□■■■□□□■□■□■■■□□□■□□□□■□□□□^■□■■■□□□■n 

□□□□■ ■■■■ tin mia .□ :.: □■■■■□■lei lmo - :zma .■!'-!□■■■■;_■:■□□□□ 

□□■□□ bbljbbbb. :ihil:bp - :q .: :■■□■■□!!■ :' ; :■ ■Mz««DB«nc«nn 

■nnnp :■■■■■■■■::■■■« :■_■■■■::".._;:■[-: ._::;■ :«■ aimi^Di 

□□□■a liiijiiiiaiiii. :■ :q:: bbb:ib .a ...:: z.mzzzz: a zsma ezannn 

F ■[^■■■■^■■■■.■■b:-: b:jbzbbb ::.■:. ::■:;. □■□■□■■■□□□■□ 

no. 127. iiiiauiiniiii ■ : :mh:» :■::; iu; b: ::jni;B»»«n«nnnn 

uniiun»naMDQina»u»u::a^:: :n«nni : ■□□■■□■■□□■□□ 
diuid»»:ii» :■■>■■ j ■ .' zzm : ..zm:zummmc<z'nnm 
■■■□■■■■:;■■■■.:■::■- bbb. js :bz: . .. □:.::; .a. z_ bbb; lazarnn 
■□■■■■^■■■■□■■■- :. n«o»njwignnnB : zzm ^□□■□■□■■■nrxniB 

■■■■-■■■■3»««a. .a:. ;bbhb:jb dl:;:b : _: ;■: .::^iiM2innnn 

■■uimiLMHi:.:«.i...i.J.-!»ia«Lin«::. :. iizaui iDDiiunnnKn 

□■■■■□■■■■□■■■■□□□□■□■■■■□□□□■□pi □■ripnnBn«««wannn« 

gin:ii» nil d ■ ;bbb a b'^l:: : a. .::;:::■:..: ^■■■□■izbdeli 

jc ..._ . : e :-. : .■..■:..■■■. □_"■. ■ am iiii iib a :■::■■■ 

■□□nn«on ilmi Enn««*«c»DQn ■■■■□■■■■□■■■■□■□□□□■■■■□ 

□a«aannB-'_ :::■..::■■_■■_. a. : aajaaianaaaa:ia . axaa::ai 

nnnnn-nn □□□□■□□LE«nnnc«n*ni.-i jaii^iaMniiiaLUDniDilll 

, ynnnnauu □■::□:. :.:■:. :.._■. in;:BBB a ta asaniaia^aiai:a:aj^DHinii 

■nnaauuu aaaaaa aaaajaac :iy..m._:u.:mam:.z:zm::. :::.:■ .. :::■:.:■; aaazaniO 

nnnmnin ■■■■□■■■■□■■■■□■□I aaaa HDDn HI . ::ls: EI ic aaaa.:a^nn 

y=^-^.~""= Bl iBBHB HBBB 1BKT H □ M F? FB B T " B ''■ BB BB B~H 



■■□■■■a. bbbb::bb n : j«a::ia:::: i_.^; : :■ : a zaa bbz' a: z 
Dim aiiuaaao:; a aaaa zzzzmzzzzza zz z .nznmmmz. :: a 

nnnnnnnii ■■■□■■■■ZBBBb::ib..:bj □■■■□■□■□□□□■□□□□■□□□■■■□■□■ □□ 

yyyyyidyS 1 ' ;■ ;■' :-■; " m ■ ' 'B 'bhhbb m :b! ;■ ■■■■ bbhb' BBBnnl imbi — («bt— i Ban 



nuzzc: zzzz 
□□□!;■□□□ 



HHiinnnnn □□□■□□□□■^□□■□■[^■■■□□□■□■□■■■■i aaaa [■ ai :■■■ 

uuiuuuuu annzzB ;::_:. ■ : aaaa a:: :aBaaL":BBBBjBBBB~BiznncBB*«n 

Fig. 128. "zzznzzzzz. b a aa si ::.:■:: aaiaaaa^aaai ■■□■■ 

zzzi :_ a a ; a aaaa :. b aaaaLMiainiaiijncDiDaial 

nnoQ;^a.i;3jan!i ;aaa: :a....a:.: ;■ ■■■□■■■■^■■■■□■□■nnnMBnM 
:: a ■ : ; is :a bbb . • o mi nil ■■■ ■ 1 ■■• 

ainnnza .:: :::..:■: :. aaaa :a. :: 01 !■■■■□■■■■□■■■■□■□□□□■■■■□ 

□□■" : :a. ;:z:a zaa. bb n oa::aaaanaaai. . ■■□■■ 

□□ma: :.:.:. :mz :: :. a..aaaa:;:.::.a aaia::aaBijaaaarj::a:uH 

□nnr::;.:n. .. : :~b : .: .bbb. u .a::;i:BaBiBBBanaaaBL:B:.c .■.":■■■□■ 

lzzzzzbzz . bltj. ,•_;■ :h. :□□□ ..jch: :■::■■■■: ;■■■■:;■■■;!□□■::■□■■■ 

■ i: 1 :::■.: 1 aaaa c dbbb: :bbbb obbbib :.:;;: bbbb;i 

n. iHazELM-E. ,:::a. :. ai .aa. ::::■:_:: no bbbb bbbjg :■□■■ 

naDua::..::. \mzzzz. :■: BBaa:::rza: ■ ■■■nHHD.HHLEa: b:bbbb 

nmzz'zzzzM : :. ebzzzbbb .■■.:■-!;•_.■■■□■■■■□■■■[ -:■■□■ 

□□□■□□□□□n ■□■■■■^■■■■□■■b:::: . a bibbb .:j..:b : . :: ::::■:: ::::aaaaLJBB»nnnBn 

■□□□□□□□□□ BBBBiaaaB jaaaajB . :. aaaa a :: :: a: :; :..::~a:.:: :: :□■■■■::■□□□□ 

□□□□□□caan ■■□■■■■□■■■■□■■□□■ bbjbb ;: aa; ::j; ma: i: :b^gbb: :■■□□■□□ 

a □■■■■□■■■■□■■■■::. a. :■ :Baaa'.:.::::::B":":B3;rna:BBaBnnDnB 

□■ntxnnnnn ■■■-■■■■::■■■■:::■. :b:: :. :ibd laanacannn 

□□aaaaaaaa aaaaaa. : aaaaaa .BaBBaaaaBaBaBBBBnBBBBaBaaanrjBnaraBMa 

□nannMrinaa aaaaaaaaaaaaa bbb iBBaBaaaaaBBBaBaanaBBBaa 

□□■□□□□□□n □□■□□□□■! 1 r 11 : aa. aa :aa;.i:_a: :: :■■□■■■■□■■■■□■■□□■□□■■□■■ 

□□□□□□□□□■ Bnnnaaaa: :■:::.:: laBanBBaanaBBBDDnnanBaBB 

□□□□□□■□□□ □^□□^^□□■□□□■■■□■□■□□□■■■□■■■■□■■■■□■□■maMBnBi 

Fig. 129. Fig. 130. 

Fig. 130 is designed to illustrate a fabric figured with the 5-harness warp and filling satin, 

and Fig. 13 1 is designed to illustrate the figuring applied to the 8-harness warp and filling satin. 

■■□■■■■■■■□■■■■■□□□□□■□□□□□□□■□n 
laaaiaa iBBaaaL 1 m zzzzzn 

■■■■nBaBBBBB3Ba«nDDBnnnnnpn«nnnn 



S □■■■■■■■' aaBaaa:: EKEDI EDI IBE 

■ — 



jaanncnnaannnnn 

BB*nBBBBBBBjBBB»n::nr:»nL:::nnnnBr:nn 
giNBiiaaBBBacc □':;:...: a 

MBBBDaBBBBBB bq: ;: □ :: . : :: ;: a 
■idbbbbbbb: bbd 

■■■■■■a: bbbbbbb a :: \z:m:zzzzzzzu 

■■■■ jbbbbbbb: :e3hb : ■ e 

■□■■■■■■■. :bbel 

■ bbbbb aa ■ a b . ... 

■■■□■■■■■■^■■■■□□□□■□□□□□□□■□□D 

DaBBBaaBDaaaaBBBDnnQDnna: : 1 -o 

bbbbb bbbbbbb db :::b: Ennnnnmnnt 
zzzzm .:: aiaaaaa bbbbb 

a ::: zzzzz:mzzzzv. :: bbbbbbbzbbbbbbb: ! 
: a :..:■ : dpbb bbbbbbb::bbi 

unnn3DBnDnannnan«n*B«*««BnBBBnnB 
■c ; : : a : : \ ibbbbbdbibbbbidi 
tZ'ZZZ'ZM : : u ;: : bib: bbbbbbb aaaa 

□□nn~::.:B ■ !]aaaaa^aaaaaiii 

□□■□□□□□^□■□□□□□■■■■■^■■■■■■■PM 

zzzw. :::;: :: zz u ■ ■■ ■ 1 nm 

E :: ■ TZZ : BBBZBBB. 'BBBBBBB 

nj:.iB:.j'.j::'.::.:3za::::r bbbb bbbbbbb ibi 
zzzzzn: : zz:z. z : ■ :■■ niiain ■■■in 

uzzzz: :: : ,b:.::j: z ibiiii Biiuai:!) 
: a s bbb::bbbbbbb:_bbhii 

nnnnnnnannnnnnnBDMBr — 
□□■□□□□□□□■□□□□□■■■a 



Fig. 131. 
Before proceeding with the construction of weaves (derivative weaves from the previously 
explained foundation weaves), we will next treat of drawing-in drafts, followed by drafting of 
weaves and reed calculations. 



" Drawing in the Warp in its Harness," and the preparation of 
the drawing-in drafts. 

Description of the operation— Methods used for making out a proper drawing-in draft- 
Different systems of drawing in drafts. 
Drawing the warp-threads in the Heddles (which are adjusted to the different Harness 
frames) forms the beginning of the practical part in weaving; the making out of the order (or 
arrangement) in which this has to be done, constitutes one of the first lessons in the theory of 

weaving and designing. „„„ 

THE HARNESS. 

The harness, or harness shaft, also termed a shaft, (see Fig. 13 
(marked A), and the iron rod (B) for holding the heddles (C) 
heddles the warp-threads are drawn as illustrated by E. 



consists of a "Frame'' 
Through the eyes {/)) of the 




Fig. 132. 

turn is pulled out of the heddle-eye by the first-mentioned person. 
Two different systems are used for drawing-in : 
1st. Indicating the harness nearest to the warp 
beam as the first, the nearest to it as the second, and 
so on until all harness are used. This method is tech- 
nically known as "drawing-in from back to front" and 
is clearly illustrated by Fig. 133. 

2d. Indicating the harness nearest the reed as 
number one, the nearest to it as the second, and so on 
until all harness are used. This method is technically 
known as "drawing-in from front to rear," and is illus- 
trated by Fig. 1 34. (This is the system most gener- 
ally used in this country). 



For drawing in a 
warp in its " set of har- 
ness," two persons are 
required. The " drawer- 
in" inserts his " drawing- 
in hook " through the eye 
of the heddle, towards 
the second person called 
the " handcr-in." The 
latter inserts one of the 
warp-threads in the "eye 
of the hook," which in 





WHip 


rotC. Wfup - 


roil. 






:::3 £:::.: 




















1 


-HE— 


. 6 


± 


£ 


~ 1l ~ 




.. 


* 


Hf- 






















i 










' '■■ I !' 


u'y.u ,uu\ ■ 


■ inj:jr. 






! ... . 


feed 



YTaTptfiTfaoLj 
Fig. 133. 



\Yu 



ptfvrtad^ 



Principles of a Drawing-in Draft. 

The drawing-in draft must clearly indicate the 
rotation for drawing the warp-threads in the heddles on the different shafts, 
must be made in accordance with one or the other of the following methods : 
A. — It may be made by using common designing 
a paper and indicating the rotation by marks. In em- 
3 ploying this method the rotation of the harness must 
- 1 be shown either by numbering the horizontal rows of 
squares which indicate the harness on the left side 
of the draft (see Fig. 135), or by placing the word "Front" on the proper place so as to avoid 
any misunderstanding (see Fig. 136). 

(31) 



Fig. 135. 



Fig. 134. 
This arrangement 



nnnnHMnnnnn^Mn 

•■ ■ ■ ■ 
■ : ■ v: '■: '" 

' ' ■ '■:: r - 



Front. 

Fig. 136. 



32 



a M_i 

_i_3 : _3 : 3. 3 

a z. z. 



B. — Another method is by using the same 
paper as before for the draft but, in place of the 
marks, employing numbers indicating the harness 
to be drawn on (see Fig. 1 37). 

C. — A third method is by using horizontally 



Fig. 138. 



. Fig. 137. 

ruled paper for indicating the harness, and drawing vertical lines indicating the warp-threads on 
the former. The stopping of the vertical lines on one of the different horizontal lines indicates 
the drawing of the different warp-threads on one of the different harness. The horizontal lines 
must be numbered (see Fig. 138). 

Different Divisions of Drawing-in Drafts. 

Drawing-in drafts are in general governed by the different weaves for which they are used, 
and are divided into " Straight Drawing-in Drafts " and " Fancy Drawing-in Drafts." 

Straight drawing-in drafts are those in which the heddles of the different number of harness 
the "set" contains are used in rotation; and after the last is used the first is employed over again, 
until all the warp-threads are taken up. For example, in 4-harness we commence to draw in : — 
The first warp-thread on the 1st heddle on the 1st harness. 



The second 


' " 1st " 


" 2d 


The third 


1st " 


" 3d 


The fourth ' 


1st 


4th 


The fifth 


2d 


1st 


The sixth ' 


2d 


" 2d 


The seventh ' 


2d 


" 3d 


The eighth ' 


2d 


4th 


The ninth ' 


« 3d " 


I St 



and so on, until every warp-thread the warp contains is taken up. 

Fig 1 39 illustrates the double repeat of a 4-harness straight drawing-in draft. 
Fig 140 illustrates the double repeat of a 6-harness straight drawing-in draft. 



:■;■; ■::::■ 
□□■□□□■□ 
n«nHrjBnn 
■□nrjMonn 



ennnuuMuuuLnM 
.: :m- . a. : 

3nnMCmmnH;_ui 1 

i*nnnnn«nncnn 



Fig. 139. Fig. 140. 

Fancy draiving-in drafts are generally used for reducing the number of harness necessary 
(repeat) for producing a certain kind of weave in a fabric. In looms constructed for certain 
classes of goods (mostly in cotton) and which can be operated only on plain and common twills 
with regard to their motion for raising the harness, the fancy draws will often become a necessity. 

The method of making out fancy drawing-in drafts for certain weaves, technically known as 
"drafting " will be dealt with later on. 



Sub-Divisions of Fancy Drawing-in Drafts. 



A. 



Broken draws. 

Point draws. 

Section-arrangement draws (1st, plain, 2d, double). 

Skip draws. 

Mixed draws (cross draws). 

A. — Broken Draws. 
Drawing-in drafts, graded under this division, have their method of drawing arranged 
(similar to the principle of the satin weaves) as much as possible broken up, scattered, yet regularly 



C. 
D. 

E. 



33 



distributed over the repeat of the draft. We also classify under the present division of drawing- 
in drafts such as are necessary for producing broken-twills, i. c, in which we draw for a certain 
number of threads from front to rear; next arrange the draw to miss one-half the number of 
harness, and draw a certain number of threads (as required by the design) from rear to front; 
next miss a^ain one-half the number of harness, and commence again to draw from front to rear. 
Forexample: Fig. 141 illustrates a broken draw for 8-hamess. Commence to draw harness 1 to 8 
straight through from front to rear twice over, next miss one-half the number of harness = 4_ 
thus: 8 — 4 = 41 commence on harness 4, to be followed by 3, 2, 1, 8, 7, 6, 5, 4, 3, 2, 1, 8, 7, 6, 5 ; 
next miss again four harness, giving you harness 1 for starting, to commence to draw from front 
to rear over again (repeat in the present example). snnnn: 

The present division of drawing-in drafts finds exten- nnng 
sive use in the manufacture of fancy worsted, woolen and i Bfljfl 
cotton goods. On looms known as " roller-looms 
" cam-looms," this system of drawing-in drafts forms the 
only means for weaving satins, corkscrews and similar popular weaves 
Fig. 142 illustrates a broken draw for 4-harness. 



._::□: ::"::□□«:□: * :: »:::i 

■ ■ :: ;: : unnMnnnnnnnaB 

■ ■ ■ :.:::.:■ 

■ ■ ■ ■■;:::..::::■:: 

• ■ ■ :■:;.;;:. ■: 1: ::. "■: :: 

■'■■■■■•".!•'■■::::■: ■ ■ 

iMnannnnnBL:rjn:-nnnnnnBnnnnnnnBnnnn 
Fig. 141. 



H3 
144 



■1 ■ " ■ ; 
■ ■ 
-:.:■ ■ 
maaumaau 
Fig. 142. 



4 - B 1 B - • 

m h 

:m: : : ■ i: 1 
•■□□□□■nnnn 
Fig. 143. 



annnanannnnnnnMnn 
□□■□r;i: : . r ;■'!:: : : 1 
i:;;ii ■ '■:.;;. .; :: 11 ■ 
'■;:::..■:.■ : ': '■: ■•.r.i 

:•■::;::-: ■ - :: vi 
[;:;: .; ■ ;, ::.:'■' 1 
' ■' ::i: " :: '■: ' ' 
iMnnnnnnnBDnnuaan 
Fig. 144. 



B. — Point Draws. 




In regular point draws, we draw from front to rear once straight through the entire set of 
harness, and afterwards draw from rear to front and repeat. For example see Fig. 145. Com- 
mence to draw in from the first 
harness straight through to the 
last, A to B, and back again, 
B to C. Designs for these draw- 
ing-in drafts must be arranged so 
as to repeat forwards and back- 
wards respectively in the centre. 
Such a weave will run upwards, at a given angle, to a definite point; then it will return by the 
same angle in an opposite direction until it reaches the base from which it originally started. In 
these kinds of drawing-in drafts the "point-harnesses" are only once drawn on, while the other 
harnesses are used twice in one repeat of the weave. Hence an 8-harness regular point draw 
will require 14 warp-threads for one repeat; a 12-harness regular point draw will require 22 warp- 
threads for one repeat, and so on ; always giving the double number of harness less 2 as the 
number of warp-threads in one repeat. 

Fig 146 illustrates a double repeat of a regular 8-harness 
point draw. Warp-threads 1,8, 15, 22 are the point-threads 
or the warp-threads which are drawn in the heddles on the 
point harnesses. 

A change from the regular point draw, but belonging 
in its principle of construction to it, are drawing-in drafts 
in which we draw in one or the other direction (front to rear or rear to front) continually for two, 
three, four or more times before changing to the other direction. 



snannnnni 

' ' :nn: ■: 

□nnnc«:~ 

r ■ ' ::im; : .: 

:;■.-;: 



□".rnnrjdBnauuLiu 

• .: 1;.:: ii ilmub'"-.; ; 1: . 1 
" ;: ;■]«■,. :: :■' '. :' ' J 
. ■: ■' :;::: . ■: :u : 

::::.::■..■:: .: m: : 



■ ■ ■ 1 

■ ■ ' ' " ■ ■ ■ 

ib' :; ; ;i ;m ..v.: 

1 8 15 22 

Point Warp-threads. 
Fig. 146. 



34 

6nnannBnannnHnnnnnHaQnnnnnnn«nannnsnnnnn»nncia Fig. 147 illustrates a specimen of these 

rjppqHnnzoLiHzzzzrB: ibzzzz . >ZBZzznnHnnrjnn«rjHngn i.; nr | „f Hmft-c tr, he- marfp with ft ti^npcc 

Bppbdz p iuB in znzz a zz z zuz _ z:a.z . .zzaz. . h:p mhu °i aialts to De made witn D-narness. 

z'az: izzzbzzz: ina. ::j: .: i :b. i:j :bz ..;:;: in: 1: iu; z:a; ozuzaz . . ,. ... , , . 

i^j.:i.: i: :::.:: :■...:: :zbzjs : . . :::■_:.:: i:j: *nnnnnnn« An examination will show us a drawing 

ianpqnpBqquppMPpqpppcpp*.pppnnaqanppBqppqppppp 5 

Fig. 147. straight three times from front to rear with 

an additional from rear to front (two repeats shown in draft). A second sub-division of the 

point draws are point draws containing the effect of a zigzag which are used to a great extent in 

weaves for fabrics imitating Jacquard work. 

Fig. 148 illustrates such a specimen drawing-in on 12-harness. 

nnapanpnnpppongnnHPnpanpppnnappppapnnppndnnnnnnnppcinnpnnpnnnnpnBnnnnpnnPDPDnpnan 
nppanppannapnpPDBDMnappnPPPPnPPPPnppppppnnnnnprnnnnL: : bzbzz : zzzzz ..zzzznp 

nmpnnnnnn nnn nHB ' ; , a :.: .:. :.:..:. i. .:j: ;:::.:'.. ;az: . :: znzzz- :zltx zj.... .. z.lzz . : s: :. .. a . z: ".. z.zz. .. .ppp 

pganzzz z ;zzzzazz :. :..:b .zjnpqpppqppppppnzzzzznzzzzzzzzzzunqpqnBPPnnnB.npnqppnnnnzzn 
nnnnnppBPPPnnBPunanPUBZLii i..:. :■ zipnapppppz. pgnnn 

pqqqpgapagppazz :. h :: cijb: :. 

qnqpztBZZZBZB .::.::. zi :._. : :..;b..:b iz: :■::::.: . b 

henna: •: iz h. . .: .;: :. ;: 1. :. \ ;■. : 1: inPMPPPPpnnnppppnnpnnnnBPnnnPBnnnnapnnnppppBczzzzBzczi 

F ; n -j- : - . - :. z: ...: b :z. b si : :rz ;h: :: z. ■ :z: :zzzznzzz: : " ' :::: :: :ir.n 

naBnnnn:jpppppppaPPnnu.zz. . ".:.:. :hz: zsi. b:: :. b :bzz: hz: zzzzzzbp 

Ban a a zzpph 

»Dnnnnp n mn nnmmmnnnmmnnnnn ' inn ' mmn ' nrn ""» nn " n '^" nnmnn ^ mnnnmnmnmn 

Fig. 14S. 



-Drawing-in Drafts having a Section Arrangement. 
ist. — Plain Draw. 



3Ppnn0nnnnapnnpncnnnnannnnpnn©nnnpp0nnpppia 
annaQPPPPnnpnnppnuDPpnuaannn&nnnDnkjunnnp©n 
~za&npnnpppppppppppnPL mrjEig 



i2 Uuuixi nixinnnnnnD LiuuuuLiuu giat 

. ._■ 

zzzzz; :uu;r:;j:::.:. zjc:::;::x.zz 

innnannnnnnnnnnnnnpuu:... . ■_ . :: ,>z :: .. ;zaqpnpqppaqnpqpnnnnBipqqqn&qpqpn0PPE 
:::zl:i::.:::::j'L..::::lz :._ ■_. c: :: :: : : :. zz C z ■_ • :: . 

:zz :...::;: z. : 

(apnnnannnppai ipppi a ;nnnnnppnpppppQnpppppnp«pnpppBPnppnannpppppnDDPPPnannn 

:: :.zi :z: :..::»:: :. :p: .■::::.:. . .: nz: zzb: .: : :z: .11. :zz: :zc: z: 'zzznzzzzn 

uzzbz: rzzzBz; b .«. ,.::::!. .■: :l; : ::i . 

B B B EBB 

:b z: z;bzzz b'Z' ]r.;;i ::.:...■:_: i.::r ::! . zznqnn 

lanppaaBannnpBPPnnpppppppppppppppppppan n n n papppuDBPapnnDPPPPPnnnnpppqppDn 

Fig. 149. 

These drawing-in drafts are used to a great extent in the manufacture of damask table 
cloth, towels, fancy cassimeres, worsteds, etc. For these styles of draws two weaves are com- 
pounded into one, each one being operated on its own part of the harness set. The manner of 
using two sections we find frequently extended to three or more sections, requiring a correspond- 
ing number of weaves to be compounded into one. 

In Fig. 149, we illustrate a specimen of such a kind of drawing-in draft. Harness 1 up to 
6, inclusive, forms the first set; harness 7 up to 12, inclusive, forms the second set. 

2nd. — Double Draws. 
These drawing-in drafts are generally used in weaves for double cloth fabrics, 
system of warp-threads (face and back) getting its own harness set. 



Each 



nty 

1 :: : : .. :: :zz: ;: : . ' :z: :■■.■;:.:. :.:. .::.:. ' 
nppppnpnnnppn©nznnnnppnnni — 



zz z; n ; :qi j ■;;;.;: :: 



zzzzzz: zzzozzzzzzzzzzzzzz :zzzzz: :: : -qzzzz zz.z z: :: : 

z: :p- :oz'zzzzz-:zi 1 iz: zz — 

9pg)pnnnz:z_:z: : : zipppoE. 

sppppppopplx a inn : inn zzzb: 's. : . .. a 



a a a a 

: : b z:' dz z bzz: .znnnDanpppnngppnzazzz 

■ ■ :: r :::• : :z : 1 :a:jpnnnnnnPDn«ppr 

SZ Z fl B B 

B B E B 



nnaaunnnnnna® 

"" 'CO- : -C 



zr: 
zz 



Fi£ 



Fig. 150. 
150 illustrates a drawing-in draft to be classified in this system. 
3, 4, S, 6, 7 and 8; 2nd set of harness, 9, 10, II, 12, 13, 14, 15, and 16. 



ist set of harness, 1, 2, 



Fig. 151 illustrates another specimen of 
drawing-in draft for 12-harness repeat. 



1- z .. . - " .•- c .:. z ' 

z : 
z: ;: :o: □: :. .: :■ :o :: :: : :: :: ;: :o: < ;i :: :: :zzo. . j.zc 
9i 01 IP! ;p: : 



» ;:;;■; | apnggoppnin 

—anpnr - - 
jppnppppppappppn nnD DDnnzzzannppp 



pppnnnnpnpppBPnnpi 



dp: ! r inza' iz: : z:: nannzznzrjEPnqpnnn 

:: b ' ■: :: . E BE 

: bzzz . b 'znnpnnn 

iMpppnpnppnpnnnnnannnnpnpppnppnnn 

Fig. 151. 



ipqmnn.jBzzz 



35 

D. — Skip Draws. 

These draws are in their origin short straight draws in a larger number of harness. After 
drawing a certain number of warp-threads plain straight, commence anew again, but one, two or 
more threads higher or lower than the commencement of the preceding draft. 

Fig. 152 illustrates such a drawing-in draft for 8-harness, 4 threads for the short straight 

draw ; skipping one thread. 

snDnnnannnnDnnnnnnnnHnnBnnBnnBnnnnnnDnnnnnnnnrjnannnnMnnBnnMnnMnna 
■ ■■■' ■ ■ ■ ■ 

■ ■ ■ ■ ■■■■ 

■ ■■■ ■■■■ 

■ ■ ■ ■ ■ a ■ ■ 

■ ■ ■ ■■::■■ : ■ 

■ ■ '.:::■':■'■■ ■ ■ 

!■ innnnnnnn annaaMn ■::::"::::«z;nr;nannnnnLinnnnnnnnnnnBnaBnnmnn 

Fig. 152. 

E. — Mixed or Cross Draws. 

As the variety of different weaves is unbounded, so are also the drawing-in drafts, and under 
the above heading it is proper to classify the kind of drafts obtained in one way or another, by 
combining two or more drafts of the previously explained systems. 



Other Points a Drawing-in Draft may require in addition to the indications for Drafting 

a Certain Harness. 

If a warp contains threads of different thickness, color, or quality of stock, the drawing-in 
draft must have a copy of the repeat of pattern, clearly indicating for each warp-thread such 
± particulars (see Fig. 153 for illustration.) 
. 1 . . jj S, The drawing-in draft should further show the number of warp, the 

number of dresser, the number of ends in warp, the number and width of 
reed to use, the number of warp-threads to be put in one dent, instruc- 
tions if any threads in particular have to be separated by the dents (see 
Fig. 1 154), and the number of heddles to be put on each harness. 

Every one of these points clearly indicated on the draft will greatly 
ig. 153. assist in the production of correct work, prevent mistakes and save much 

time. We append a specimen sheet of a complete order for the drawing-in department, such as 
ought to be used in every mill. 



as. 



i= o 



»nannnD«nnnannnMn 

□n: i: i:xj; :b;i: iun: :::: :■ 
nnHnnnnnannnnnaL 
■ ::: ■: :n::::i: 

Bn:. mzr.:n ;;j:j: ;: :■:::. 
:xrr_'». ::.: ;::; ;;]*:_;:-;: 
iim :::'::::■ 

wnannannnnBaunna 



Specimen of a Complete Drawing-in Sheet. 

Fancy Cassimar, style j.2. 
Warp No. 393. 3600 ends in warp. Reed 13 x 4 = ^9% inches width of warp, in reed. 

Dressing : 6 threads black 4 run. „j f 

D. N. 4. 1 " white " 3 > 

* x WIUIC B|ack gj B rown. a Brown. Blue. 

7 " black " ~" r ~ J ~^ 

1 " lavender " 
7 " brown " 

2 " blue " 



24 threads in pattern. 

Selvage : 40 threads 1 inch wide in reed for 
each side. 



1? 




1 
























. 














1-1 I 












































ii 

























































































a 






































7 




































a 




































































































































\ 




t 



Fig. 154. 



36 



Heddles required for the different harness : 

Numbers I, 3, 4, 9, n, each 300 heddles = 1500 

Number 2, requires 750 " = 750 

" 5, " 600 " = 600 

Numbers 6, 7,8, 10, 12, each 150 " = 750 



3600 
Having explained the general principles of drawing-in drafts for theoretical and practical 
work, also their classification, the next subject for the student to learn will be " the drafting of 
drawing-in drafts " from the different weaves. 

Drafting of Drawing-in Drafts from Weaves. 

Rule : Ascertain the " repeat " of the weave in the direction of both systems of threads. 
Next, examine each warp-thread separately (on the design) as to its rotation of interlacing in the 
filling. If each warp-thread shows different places (different picks) for interlacing, each thread 
requires a different harness. If there are warp-threads in the repeat of the weave which 
have throughout the entire number of picks the same intersecting places, they can be 
drawn on one harness. For example, examine the two warp-threads illustrated in Fig. 
155 ; both are working the same way ( 1 1 2 2 1 1 ) in its repeat of 8-picks, consequently 
Fig. 155. these two threads can be drawn on one harness, giving the same result. 



nn 
■■ 
■ ■ 
nn 
nn 
■■ 
inn 



In Fig 156 we illustrate 3 warp-threads over 16-picks. An examination of the 
same will show warp-threads marked I and 3 interlacing correspondingly with the 
filling, and hence can be drawn on the same harness ; whereas thread marked 2 works 
differently, therefore requiring a different harness. 



nan 
□■□ 

*:-■ 
n*n 






■□■_ 
nan 
■nn 

■nn 
n*n 

ana 
in«n 

12 3 

Fig. 156. 



Weave. 

i2nnnnBBMnnn««nMnMn«BnnnB*BnnnBnnn«n«nnn 

■■::;::: :naa ;:.,■;:□ ::..: la .::.■' a j 

■ ■1 ■■■ :. ;: :»i:i«n«[.i; :: hoc. :.nBBnnnanBmn 

: :ebh .: .. bee .: ■ ■ :■: : nan :. . sbb: .ibi: :icm 

:: ;bbbl:u:jbbb: ■■ qb .nan. 1 .. :bbb .: iiii^iniii 

:: ■■■ :: ■■■ ■ ■ ■■■ :n: iai :: ieb::i::ih 

■nnn*B« r .: ■■ hgi: id . .: :hhh; i! :; a :: :. :■: :annn 

bb:j' :a«ijn: :■::■. .■: :■: :: :: aai! :::: :■■ .::: :■:.;■: ::r : 

■» :: ■■■ .: ■■: as : :: bhh aiaai :: .: :■; .a:.:;::., 

bbb. :: :. .bob. :. n ■ :a :: :nsa :: :: :□□□ aaa .auaaa 

. :: bbb:: aaa a. a a bbd ;. bbb .ibo im 

1 ::: bbb: ;: :: :bb«;jb: ^bbbllcibbb; .j.iMBBnanBBB 



Drawing-in Draft. 

3nnnnnBnnnnnBnnnBD«nnn 

annnnann: : : a: - 



With Fig. 157 we illustrate a complete weave 
v one repeat) with its corresponding drawing-in 
draft : 

38 warp-threads ^ 



;i: ::.:b. . , . .a ::;. a . :: :a: ::::■: : : .a 

iB a a a aaa: a bib 

:. ■ ■ a . : . :■ ■ :::.:: :' :a: 1: :: : ■ . ■ 
ennnnnBnunnnBnnnnnBnnnnnBnnnnnnnnnnnnnn 

" ' ::ib-:b :: : 

snnnnnnnnnnnnnnBnnnnnnnnnnnnnnnnnnnnnnn 



12 picks 



m repeat. 



Fig. 157. 
An examination of each warp-thread in particular will result as follows : 
Warp-threads 1, 7, 23, 29, 33, 35 correspond, thus harness 1 

2, 8, 22, 28 " " 



3, 9, 13, 17, 2i, 27 

4, 10, 20, 26, 30, 31, 32, 34, 36, 37, 38 " 

5, 11, 19. 25 

6, 12, 18, 24 " " 
14, 16 " 

Warp-thread 15 working independent, requires a separate harness; = 



37 



Hence, we find drawing-in draft illustrated below weaves reading as follows: 



The 1st warp-thread for harness I 

The 2d " " 2 

The 3d " " 3 

The 4th " " 4 

The 5th " " 5 

The 6th " " 6 

The 7th " " t 
The 8th 

The 9th " " 3 

The 10th " " 4 

The 1 ith " " 5 

The 1 2th " " 6 

The 13th " " 3 
The 14th 
The 15 th 
The 1 6th 

The 17th " " 3 

The 1 8th " " 6 

The 19th " " 5 



The 20th warp-thread for harness 4 

The 2 1st " 3 

The 22d " " 2 

The 23d " 1 

The 24th " 6 

The 25th " " 5 

The 26th " " 4 

The 27th " " 3 

The 28th " " 2 

The 29th " " 1 

The 30th " " 4 

The 31st " " 4 

The 32d " " 4 

The 33d " " 1 

The 34th " " 4 

The 35th " " 1 

The 36th " 4 

The 37th " " 4 

The 38th " " 4 



Bonne weaves will be found inexpedient to reduce to the lowest number of harnesses, as a 
drawing-in draft too irregularly distributed will be difficult to comprehend by the operative who 
uses the same for^oractical work. 

After making out a fancy drawing-in draft for a weave, the design for the " harness-chain " 
must be prepared. 

Rule for Designing the Same: — Reproduce each warp-thread only the first time called for 
by its drawing-in draft on a different harness. For example : Produce harness-chain for weave 
and drawing-in draft Fig. 157. 

Answer : 



The 2d 
The 3d 
The 4th 
The 5th 
The 6th 
The 7th 
The 8th 



2 3 1 
3 3 

3 3 

1 3 2 
3 3 

2 3 1 
3 3 

2 5 1 



finding in this manner harness-chain illustrated by Fig. 158. 



Fig. 158. 



38 



RULES FOR ESTIMATING THE NUMBER OF HEDDLES REQUIRED ON 

EACH HARNESS. 

Straight Draws. 

Rule : Divide the number of threads the warp contains by the number of harness in the set used. 

Example: 4800 ends in warp — 8-harness straight draw. How many heddles are required 
for each harness ? 

Answer: 4800-^ 8 = 600; 600 heddles are required for each harness. 

If ends remain over the full repeat they are to be added, beginning with harness one until 
all are taken up. These harnesses will consequently require one more heddle. 

Example : 4800 ends in warp — 9-harness straight draw. How many heddles are required 
for each harness ? 

Anszver: 4800 -=- 9 = 533 full straight draws plus 3 threads. 

Thus, harness 1, 2, and 3 must contain 534 heddles (160?.) 

4, S, 6, 7, 8 and 9 " " 533 " (3198) 



4800 



Fancy Drawing-in Drafts. 



Rule: Multiply the number of threads for each harness by the number of pattern repeats 
in the entire warp. 

Example: — 3200 ends in warp on the following drawing-in draft: 
32 threads in one pattern. 

3200-^- 32 = 100 repeats of pattern in warp. 



nnnnn*nnnnnnnnnnnnnnnnnnni3nnn««ui2 Hamess,- 
jnn :«nnnnnnnnnB*:: 1 :annnnnnnn 

. ■ :: .::.:::■::' ::::: :w 

nnnannnMnnnnnnnn! :i:i; :: ■:;;..;; 

b h ■ lunnnn s 

-qnnngBBnnnnn«npnannnanBnnnnnnnnn 7 

^InnannDnannnMMnnnnnnnnBnnnnp g 






nuii i 



mnnnnnnnnnnnnnnnnnnnannn 3 
.iuiBnnn n a 

MnnnnannnnfinnannanBantxiM 1 



1 



=Sj 



0. of Harness. 


Threads per Patter 


I 


3 


2 


4 


3 


1 


4 


3 


S 


2 


6 


4 


7 


2 


8 


3 


9 


2 


10 


2 


11 


3 


12 


3 



300 

" 400 

" 100 

300 

" 200 

" 400 

" 200 

300 

200 
" 200 

* 3OO 

3OO 

32 3200 

The repeat of the pattern will not always divide into the number of the ends in the warp. 
Sometimes it will leave a fraction over, which we have to add separately. For example, taking 
the drawing-in draft as before, and supposing the number of ends for the warp to be 3206. This 
will give us the 100 repeats of pattern as before, plus 6 ends. Numbers 1, 3, 6, 10, 11 and 12- 
harness call for the first 6 warp-ends in the pattern, hence: 



39 

Number I harness will call for 301 heddles. 

3 " " " 101 

6 " " " 401 

10 " " " 201 

"11 " " " 301 

" 12 " " " 301 

Harness 2, 4, 5, 7, S and 9 will remain the same as before. 

THE REED. 
The reed consists of two horizontal strips of wood, between which a series of narrow strips 
of metal (flat steel wire) are bound in. 

After a warp is " drawn in its harness," it has to be " reeded ;" one, two, three or more ends 
together are drawn in one dent orsplitof the reed. The purpose of the reed is, First: To guide the 
warp-threads after leaving the harness, holding the same during the entire width and length of 
the fabric evenly divided. Second : To strike the filling in evenly divided places all over the 
width of the fabric in beating up. 

The height of a reed (distance between both horizontal strips) varies according to the fabric it 
is used for. 

Silk fabrics requiring z l / 2 to 3 inches height. 
Cotton fabrics " 2)^ to 3^ " 

Woolen fabrics " 4 to 4^2 " " 

Carpets " 4'/> to 5 " " 

It is advisable to have the height of a reed ^ to yi inch higher than the highest lift of any 
thread in the fabric. It will never do to have this height lower than any thread of the upper 
shed lifts, as this would chafe the warp. The reed has to be movable the least bit in the width of 
the lay, but is required to be steady towards front and back in almost every kind of fabric ; except 
in the manufacture of turkish towelings, or similar textile fabrics, in which the reed is required to 
give way in a backward direction regulated by springs. 

To get perfect work the reeds must be evenly set, the wires must stand parallel with the 
warp and the wire must be neither too thick, nor too thin, too wide or too narrow for the work. 
The "riding" of threads can often be helped by different number of threads per dent, or by 
taking different parts of the pattern in the same dent. 

REED CALCULATIONS. 

The reed is named by numbers, the number in each case indicating how many splits are in 
each inch. Thus a number 8 reed means a reed with 8 splits in every inch over the required 
width. If we call for number 16^ reed, we want a reed having 16^ splits in one inch, equal to 
33 dents in every 2 inches over the entire width of the fabric. Whole numbers or half numbers 
alone are used for grading of reeds. 

Example : Suppose we have a number 9 reed, 4 threads in one split or dent, how many ends 
are in one inch ? How many are in a full warp if 70 inches wide in reed? 

Answer : 9 x 4 = 36 ends of warp in one inch. 
X 70 width of warp in reed 
2520 ends in warp. 

Hence, we find as a rule for ascertaining the number of ends in the warp, if the reed num- 
ber, the threads per dent and the width of the warp in reed are known, the following : 

Multiply the reed number by the threads per dent, and multiply the result by the width of 
the warp in reed. 

Example: How many ends are in the warp if using 13^3 reed, 6 threads per dent, 80 inches 
wide in reed f 



40 

Answer : 13^X6 = 81 X 80 = 6480 ends in warp. 

The next process will be to ascertain the reed number, if the number of ends in the warp 
and the width in the reed are known, the threads per dent either given or to be selected accord- 
ing to the fabric. 

Rule : Divide the number of ends in the warp by the width in the reed, which gives the 
number of threads per inch. 

Divide this result again by the number of threads in one dent according to the weave or 
pattern required. 

Example : 6480 ends in warp, 80 inches wide in reed. 

1st. How many ends per inch? 

2d. What reed number required if 6 ends per dent are to be used? 

Answer: 6480-5-80 = 81 ends per inch. 

81-5-6 = 13^, number of reed required. 

It will be easily understood, how to find the width of the warp in the reed. Supposing the 
reed number, the threads per dent, and the number of threads in the warp are known : 

Rule : Divide the number of ends in the warp by the number of ends per inch, giving as 
the result the number of inches the warp will be in the reed. 

Example: Reed 12 X 3=3600 ends in warp. What width will this fabric have in the reed? 

Answer : 1 2 X 3 = 36 ends per inch. 

3600-5-36 = 100 inches width of fabric in reed. 

The number of ends to put in one dent has to be regulated according to the fabric and the 
weave. Experience is the only guide for this. The coarser the reed, to a certain extent, the 
easier the picks go into the fabric. The finer the reed, the smoother the goods, and with perfect 
reeds the less reed marks. 

The same number of ends are not always used in each dent, but the preceding rules may be 
used for finding the average number of threads per dent. 

Example : What are the threads per inch ? 

Reed number 20 

using 1 dent, 4 ends 
I " S " 

Answer : 4-1-5=9 9-5-2=4^4 threads, average per dent, X 20 number of reed = 90 
threads per inch. 

Example : What are the threads per inch ? 
Reed number 18 
using 1 dent, 3 ends 
1 " 4 " 

1 " 3 " 
1 " 6 " 
Answer : 3 + 4+' 3 + 6= 16 threads in four dents. 

16-5- 4=4 threads, average per dent, X 18 number of reed=72 threads per inch. 
Sometimes it happens that the average number of threads includes an inconvenient fraction. 
To avoid a calculation with this fraction, multiply the sum of the contents of the dents by the 
dents per inch, and then divide by the dents per set. 

Example: What are the threads per inch, warp reeded as follows in number 12 reed: 
1 dent, 5 threads. 
1 " 3 
1 " 3 " 
3 + 3 + 5 = 11 X 12= 132. 
132 -5- 3 = 44 threads per inch. 



Derivative Weaves. 



FROM THE PLAIN OR COTTON WEAVE. 

I. Common Rib-Weaves. 

This sub-division of the "plain" or "cotton" weave is classified into two distinct divisions, 
namely, weaves forming the face of the fabric by the warp (warp effects), and weaves forming the 
face of the fabric by the filling (filling effects). 

Warp Effects. 

The principle observed in constructing these weaves is to allow more than one pick to follow 

in succession into the same shed of a regular 
plain weave. This will require a high tex- 
ture for the warp in fabrics : Bn-nBnB 
which are interlaced with them. s'b'j's" 

The first common rib-weave to ■"■VS? 
... , iBpRScSa 

be formed is the change in 2, '- 

t , . „. , Fig. 160. 

as represented in big. 100, re- 
quiring for its repeat 2 warp-threads and 4 
picks. 

Picks 1 and 2 are interwoven in the 
first shed of the plain weave ; picks 3 and 4 
are interwoven in the other. Fig. 161 shows 
a clearly drawn out diagram of this weave 
and the corresponding interlacing of warp 
and filling in a fabric. 

Fig. 162 illustrates the section cut of 
the woven fabric. 




■ ■ ■ ■ 
Fig. 163. 



Fig. 164 



Fig. 163 illustrates the common rib-weave as obtained by a change of 3 in the filling, thus 
requiring for its repeat 2 warp-threads and 6 picks. 

Fig. 164 illustrates the change of 4 picks in a shed for constructing the next common 
rib-weave, requiring for its repeat 2 warp-threads and 8 picks. 

Weaves Figs. 160, 163 and 164 require for their repeat warpways, 2 threads, and therefore 2 
harness, which number, in practical work on the loom, will by reason of the high texture of warp 
generally used be increased to 4, 6, 8 or 12 harness, with a corresponding repetition 2, 3, 4 or 6 
times of the design, for the warp-threads. 

(41) 



42 




Filling Effects. 

In these weaves every pick intersects alternately over 
and below two or three or more warp-threads; therefore 
being in its principle nothing more than the common 
"plain" weave, with two, three or more threads used in- 
stead of one in the plain weave. In their general appear- 
ance these weaves are the same as the warp effects of the 
same class of weaves previously explained except that the 
warp exchanges with the filling. As fabrics constructed 
with these weaves have the filling for face, a correspond- 
ingly high texture of the latter is required. The " ribs," as 
produced by these weaves, are formed in vertical direction, 
or in the direction of the warp-threads in the fabric, while 
in the former division, classified as warp effects, this direc- 
tion is opposite — that is, in the direction of the filling. 



ODBBOrBB 

■■ ■■ - 

r: ■■ ■■ 

BB Hi: 3 

■■ ■■ 

BB. i BB H 
SCr.BBOl BB 

1bddgbbdd 
Fig. 165. 



nnnBBB 1 ■■• 

BBB ■ ■■■ 

L~" BBB EBB 
■It BUB ' 

"1 BBB ' :.: BBB 
BBB - BBB 

' BBB .BOB 



Fig. 167. 



I Z. 3. V. 5. 6. 1 



nnnnBBBBcnonBBBB 
bbbb run" ' 

onrrBBBBcr.i ■ bbbb 

■■■■ ' BBBB" - 

BBBB .: BBBB 
BBBB ['■■■■: ' 

mi 1 ■■■■: ; bbbb 



Fig. it 



Fig. 165 illustrates the change for two warp-threads in succession, interlacing with one pick. 

Fig. 166 shows a diagram illustrating the 4-harness rib-weave and the corresponding inter- 
lacing of warp and filling in a fabric. 

Fig. 167 illustrates the change for three warp-threads. 

Fig. 168 illustrates the change for four warp-threads. 

Weave Fig. 165 has for its repeat 4 warp-threads and 2 picks. 

Weave Fig. 167 has for its repeat 6 warp-threads and 2 picks. 

Weave Fig. 168 has for its repeat 8 warp-threads and 2 picks. 
But each weave can be made, if required, on 2-harness by drawing warp-threads interlacing the 
same in the filling on 1 -harness. 

II. Common Basket-Weaves. 

• 

These are a combination of the common rib-weaves, warp and filling effect, having the same 
changes. Therefore, the principle of their construction will readily be found in the enlargement, 
warp and filling-ways, of the common plain weave. The first or most simple 
basket-weave to be found is produced by the exchanging of two successive warp- 
threads with two successive filling-threads, alternately up and down ; or an equal 
combination of rib-weaves, Figs. 160 and 165. 

Fig. 169 illustrates this basket-weave, requiring for the repeat four warp- 
threads and four picks. 

Warp-threads 1 and 2 are the first mate-threads. 

Warp-threads 3 and 4, the second. 

Picks 1 and 2 are the first mate-picks. 

Picks 3 and 4, the others. 



oDB«cq«i 

OOBBCDBB 
BBCIDBBDO 

BBGGBBCG 
(XHBT1B1 
QDBBOGBB 
BB ■■ : 'J 

1bbdqbbcd 
Fig. 169. 



43 




l 2. 3. 9. 5. 



Z £ 



Fu;. 170. 

threads working the same, and also illus- 
trates a combination of weaves, Figs. 164 
and 168. 

III. — Fancy Rib-Weaves. 

Warp Effects. 

The first step towards designing fancy 
rib-weaves is the combination of the regu- 
lar "plain" weave with its sub- 
division the common rib-weave. 
Fig. 174 is designed to il- 
lustrate the combination of one 
pick "plain" to alternate with 
two picks of the common rib- 
weave ; or in other words, to put one pick 
in one shed, and two picks in the other shed 
of a regular plain weave. 

Fig 175 illustrates the diagram of this 
weave with a corresponding illustration of 
the interlacing of warp and filling in a 
fabric. 

Fig. 176 illustrates the section cut of 
the woven fabric. In its appearance in the 



■ ■ ■ ■ 

■ ■ ■ ■ 

■ ■ ■ ■ 

■ ■ ■ B 

■ ■ ■ ■ 

■ ■ ■ ■ 

■■ ■ ■ ■ ■ 

■ ■ ■ ■ 

■ ■ ■ ■ 

Fig. 174. 



Fig. 170 shows a diagram illustrating 
the 4-harness basket-weave, and the cor- 
responding interlacing of warp and filling 
in a fabric. Fig. 171 illustrates the section 
cut of the woven fabric. 

Fig. 172 illustrates the common 6-har- 



Fig. 172. 



Fig. 173. 



ness basket-weave, having three successive 
warp and filling-threads working the same, 
and forming also a combination of weaves, 
Figs. 163 and 167. 

Fig 173 represents the common 8-har- 
ness basket-weave, with four successive warp- 



m 



si:i;o 



: 






M 



B8KI 

lZ,3.'/.6.6.7.8. 



3 




/ Z. & ■¥ 5. 6. % 8. 

Fig. 175. 



44 



fl.) 


J 






■ f 




m. ■ 























* 




- 


> 


1 




~ 




; 








fi.' 


< 


? 








,1 




// 




^ if 


Ij ' 


< > 


j 


% 












'■'■ 


~w,~ 






^ 


. 




m % 



i.g.&i&e.7.8. 




'z^m^K^M 



-l 






n 




as- 




i 



■» 



& % & 6 Z 8. 



t z. 

Fig. 178. 
or two changes of the plain weave and 

□■p«n«o« 

1 ■ ■ ■ :■ 
[ ■ ■ » ■ 

■ ■ ■ ■ 
a ■ ■ ■ 

•-■ u ■ ■ ■ 

■ ■ a ■ 

■ n' m u 

■ ■ ■ ■ 

Fig. 180. 



woven fabric this weave, as well as the following 
similarly constructed weaves, will produce the fancy 
effect by alternately exchanging heavy and fine rib lines. 
Fig. 177 illustrates the change as to the size of 
the rib produced by one pick in one rib to alternate 
with three picks in the other rib. Repeat of weave: 2 
warp-threads, and 4 picks. 



B H ■ ■ 

■ ■ ■ a 

■ ■ ■ ■ 

b ■ ■ a 

: B B B B 

■ B B B 

B B B B : 
GBGBDBDB 

■ B B ■ 
B B fl B 

II.lJlull 

Fig. 177. 



Fig. 179. 

Fig. 178 illustrates the diagram of the weave, with 
a corresponding illustration of the interlacing of warp 
and filling in a fabric. 

Fig. 179 illustrates the section cut of the woven 
fabric. 

Fig. 180 illustrates a fancy rib-weave having two 
picks in one shed, to alternate with three picks in 
the other shed. Repeat of weave : 2 warp-threads and 
5 picks. 

Fig. 181 illustrates a fancy rib-weave as pro- 
duced by a change of the shed of 1 , 1 and 3 picks 
one change of three picks in the same shed. 



lOaBDBDBOB 
: B B B B 



121 mm B ■ 

< B B B B 
: B B B B 
B B B B .1 
B B B B ] 
B B B B 
B B B ■ 
B B fl B 1 
■ ■ ■ I 
, fl ■ II ■ 
I fl :■ fl' !■ 
1BDBDBDBG 

Fig. 182. 



Fig. 182 illustrates the combination of three different ribs, (as to its size) or the changes for 
picks in one shed, as 1, 2, 3. Repeat of weave: 2 warp-threads and 12 picks. 

Filling Effects. 

In fabrics produced with these weaves, the rib-lines run in the direction of the warp-threads 
in the fabric. The face and back of the fabric will be produced with the filling, the warp forming 
the centre. 



45 



Fig. 183 illustrates the combination of one warp-thread 111 one filling change, to alternate with 
one filling change containing two warp-threads. 

Fig. 184 illustrates the warp change of 1 and 3 in a fancy rib-weave. Repeat of weave : 
4 warp-threads and 2 picks. 



B . B ■ . 
1 3 

Fig. 183. 



«»o ■■■ ■■.- 



h B -BELLI 

Fig. 184. 



Fig. 185. 



■ ■ ■■ 




■ ■ ■■ 


■ ■■ ■ 


■ ■ ■■ 


■ ■■ ■ 




■GIICIlG 


Fig. 1S6. 



Fig. 187. 



aaaa aaca 

i ■■» - ■■■■ 
1 ■■■■ ■■■■ 

" IN* 111! 



Fig. 185, with a change of 2 and 3 in its construction, requires for its repeat 5 warp-threads 
and 2 picks. 

Fig. 186, with a change of I, 1,2, requires for the repeat of the weave 8 warp-threads and 
2 picks. 

Fig. 187, constructed by means of change I, 2, 3, requires for the repeat of the weave 12 
warp-threads and 2 picks. 

IV. Fancy Basket-Weaves. 

These weaves are obtained by combining common basket-effects of different sizes in one 

design. They also have their principle of construction in the combination of corresponding warp 

and filling effects of the fancy rib-weaves. 

■■ ■■ Fig. 188 illustrates the fancy basket-weave produced with an alternate 

■■ ■■ ° . ■"■ ■■■ 

"■■"■■ change of one and two threads, warp and filling ways. Repeat: 3 warp- SSS SSS 

GBB BB ° ° J L u ' ■ ■ 

fF threads, 3 picks. ' ill SSS 

i-ig. isb. pjg_ jgg j s p roc j uce <j by the alternate changes of one and three p tj ? Ba: 

threads, warp and filling ways. Repeat: 4 warp-threads, 4 picks. 

Fig. 190 illustrates a fancy basket-weave of a 
construction twice as heavy as the weave illus- 
trated in Fig. 188, or the alternate changes of two 
and four, warp and filling ways. Repeat : 6 warp- 
threads, 6 picks. 

Fig. 191 illustrates a fancy basket- weave pro- 
duced with a change of 3, i, 1, for warp and filling- 
Repeat : 10 warp-threads, 10 picks. 

This weave will also indicate 
an important point in the con- 

bbbi struction of fancy basket-weaves 

■■■■ J 

SSSS with regard to their repeat. If changes are required, and 

mi warp and filling ways are of an uneven number, the repeat 

for warp and filling threads will be double the number of 

SSSS threads called for in those changes. For example take 
the present weave. Changes for warp and filling are 3, 1, 1. 

■■"fl Thus, as three is an uneven number, we find x 4 1 4. 1 = 

™" 5 X - = 10 threads of warp and 10 picks necessary for one 

H rffl complete repeat. 

■■an ' r 

Sua" Fig. 192 illustrates a fancy basket-weave having for its 

foundation the change of 1, 2, 4 for warp and filling. 
Repeat: 14 warp-threads, 14 picks. 

In addition to basket-weaves made with even changes 



Fig. 190. 



■■ ' I III! ■■ ' 

'■■'" ' ■ ■■■■•!■ 

BB ■ Sill ■■ 

'■■ - ■ ■■■■-■■ , 



L 1 .■■■■ .■■ 



■■■■ ■■ 



Fig. 



d .2 >ii a m ■■■ 
e d tea a a ■■■ 

e r ■■■ ■ ■ ■■■ 

■ ikb n n ■■■ ■ 

i zl: 1 a BBS ■ ' ■ ■■■ 

■ BBB B B BBB B J 
• IIP ■ ■ ■■■ ■ 1 

■ ICE ■ : ■ BBB B ■ ] 
[ I ' B BBB B B BBB 

■ BBB B B BBB ■ 

IB ! B BBB B B BBB 

B .: ; B BBB B B BBB 

LB B BBB B B BBB 

■ CBB B B BBB B J 
LB B BBB ■ fl BBB 
B BBBI ■ ' ■ BBB ■ 

■' bbb ■ . ■ aaa ■ 

B BBB a B BBB B 

!.■'■!■ BBB' B B BBB 

l^QBBBLBDDPBLBBBLBLiLa 

Fig. 191. 



liaaapiaai 
Fig. 192. 



46 



for warp and filling, it may often be necessary to construct this division of weaves in one system 
heavier than in the other. The reason for constructing basket-weaves in this manner is found 
either in the difference of textures of warp and filling, or because of the different counts of yarn 
for the warp and filling. Figs. 193 and 194 illustrate two weaves constructed in this manner. 



■ ■■■■ ■■■■ 



r 2»»»" ■■■ 

n: . ■■■ mb 

■■■ ■■■ 

■■■ ■■■ 
nnn ■■■ 
nnn nnn 

■■■OGGBUGOa 

■■■ nnn. 



' \ 4 picks. 



•p ,j 8 warp-threads. 

" \ 6 picks. 



Fig. 193. 



Fig. 194. 



V. Figured Rib-Weaves. 

These are the combination of common and fancy rib-weaves so as to produce a new weave. 
The following few examples, with the corresponding explanations, will illustrate methods by 
which each rib-weave (as numerous as they can possibly be constructed in plain and fancy) 
can be varied in an endless manner. The first step towards figuring will be to change the 
rib-line in a conjmon rib-weave after a certain number of warp-threads. Figs, 195, 196 and 197 
are designed for the purpose of illustrating this method. 

Fig. 195 contains for its principle the common rib-weave, Fig. 
160, 2 „. The rib is arranged for one pick higher for every six succes- 
sive warp-threads. Repeat: 24 warp-threads and 4 picks. Thus, as 4 
picks form the repeat for the common rib, find the number of warp- 
threads required for the full design as follows : Successive warp-threads, 
X number of changes, = warp-threads required for full design. 6X4 = 24. 

Fig. 196 contains for its principle of construction the common rib-weave, Fig. 163, 3 - 3 . The 

rib is again arranged for two picks higher for every six successive warp-threads. Repeat: 18 
warp-threads and 5 picks. 

Fig. 197 contains for its construction the common rib-weave, Fig. 164, 4 . The rib is 

arranged two picks higher for every eight successive warp-threads. Repeat: 32 warp-threads and 
8 picks. 

Figs. 198, 199, 200 and 201 illustrate a second division of figured rib-weaves, having for 
their foundation fancy rib-weave warp effects. 




1 2 mzm m ■ m Ino 

>— ■"— ~ — "— « ■ aaaoa 

■ ■ ■ •:• ■:• •:< a a ►. ■ n a m a :: a ami ■ a m ja :: a a ) DaoaaciBG ■■■■.■■ .': 

■ ■ ■ ■ ■ ■ ■ a an a n ■■"□ .a "aj ■nun ■ o n n n n 
n b m ■:■ n ■ n na a a a nnn a a a a n a a a a an n n 
■ n n* nnn aa a a a ■ n n a a a a ■_■ n n ., m a ■ n ■ a 
n n ■■:■ a a a ■ n n n a a a n n_n n a a a a :: ::n n ■ n n ■ a ■ 

n ■ n ■:• ■:■:■ n :: a a a n n n n a a a:a nana n s ■ a a 

n n a n a a a a ■ n n na a i n a :: a ■ ■ ■ a a a 

ia_»L - «jJs: sjaaja^a.i ia a a a a a:. a a n a a na a c: _a 1 a is a »jj a a a 

Fig. 196. Fig. 197. Fig. 198. Fig. 199. 

Fig. 198 is constructed out of the regular fancy rib-weave, j (see Fig. 177). Repeat: 8 

warp-threads and 4 picks. 

Fig. 199 is constructed out of the regular fancy rib-weave,^ j. Repeat: 12 warp-threads 

and 6 picks. 

Fig. 200 is constructed out of the regular fancy rib-weave, ± g . Repeat: 24 warp-threads 

and 6 picks. 

Fig. 201 is constructed out of the regular fancy rib-weave, ? g , with four changes in the 

repeat, each change 8 warp-threads, thus: repeat 32 warp-threads and 8 picks. 



47 



Figs. 202 and 203 illustrate a third sub-division of the figured rib-weaves, having f< >r their 
foundation the fancy rib-weave filling effect. 

Fig. 202 is constructed out of the regular fancy rib-weave, s K Repeat : 4 warp-threads and 

8 picks. 



□0 :; :: 


■ 1 


1 a ■□■ o~a 


B B B 


































,■..■„■.. 


■ 1 


1 ■ G o o 


■ ■ ■ 1 

■ ■ ■ ] 










■ ■ ■ 


■ 1 


1 ■ ■ ■ ■ 


■ ■ ■ I 










IB ■ ■ ■ 

















— 


— 













— 


















































■ ■ ■ 
























































■ 


■ 














■ ■ ■ 


















■ ■ ■ ■ 


■ 


■ 


■ 


S j ^ 


.. . 










■ 


■ 


■ ■ 


■ 


■ ■ ■ 


■ ■ ■ 


■ ■ ■ 


n 


r - B 


o 






























■ 
■ 


■ 
■ 
■ 
■ 


■ 1 


: : 


■ 
■ 






■ ■ ■ ■ 

■ IB ■ ■ 


u 
a 
■ 1 


■ □ 


a g 


::■ 



■ ■■■ ■■ 

o a '! 

a aaa ■■ 

:: o 

■■■ ■■■ 
i o o 



Fig. 201. 



Repeat : 6 warp-threads 



Fig. 203 is constructed out of the regular fancy rib-weave, 5- 
and 12 picks. 

The next method for the designing of figured rib-weaves is the combination of the 
warp and the filling effects of the common rib-weaves. We may select both effects correspond- 
ingly, or combine two different effects. 

Fig. 204 illustrates the combination of the common rib-weave, 4 ^, warp effect, with the 

common rib-weave, ^ - 4 , filling effect. Each effect is arranged for a repeat of 8 warp-threads and 

8 picks. Repeat of complete weave : 16 warp-threads and 16 picks. 



■■■■ ■■■ 



■ e oooo 




oooo 


■ ■ ■ ■ 




■ ■ 












1 B ■ 


■ 


cooo 1 


■ B ■ 


■ 














■ ■ ■ ■ 






■ ■ ■ ■[ 






■ ■ ■ ■ 




:::■:: 








■ ■ ■ ■ 


:: 


:::::: 








■ ■ ■ ■ 




GOG 


1BUBUBGBUL 


::::::; 





Fig. 203. 



Fig. 204. 



1 a a □G__Gaj-~ 
Fig. 205. 



Fig. 205 illustrates the combination of the common rib-weave warp effect with the 

common rib-weave 2 -, filling effect. Each effect is arranged for a repeat of 8 warp-threads and 

8 picks. Repeat of combination design: 16 warp-threads and 16 picks. These changes of 
warp and filling effects may also be arranged after the shape of a certain weave. For 
example, Fig. 206, which is arranged after the 4-harness broken twill ( m g J 





bo ac 
bn "cc ' . 

5P' ' '• " QC C 
GH ' "bp"^ 

GO ■"■'-■ GG ." 




a a a 

a a a 

a a 

a a 

a a 

a a 

a a a 

a a a 


a 
a 

a 

a 

a 

a 
a 
a 


aoo 

a 
■ :::: 

B__GGG 

B i"B 

::b b b 


GO 

"go 
"go 

G 

:::: 


B 
B 












gc: go"" 






























B B B 

::■ a a 


B 
B 1 




GG GOB 
OOOO B 

GO GG a 
OOOO B 

GO 00 a 

a 


a a a 
a b a 
a a a 
a a a 
a a a 

a a a 








"OO 
G 1 
GO 

:; . 

GO 


1 
1 

1 


■ a a a 00 

■ a a a 

a a a ■:::: 
a a a a 
a a a aoo 
a a a a 

■ a a a og 








"go 
"go 

'go 

:: 

GO 






""" a - ' 





























: a a a 


a 












a a a 
:a a a 
a a a 


a 
a 
■ 












:a a a 














a a a 


a 


"b 


b"b a 














a a a 












a 


a a a 












a 


a a a 
































OG B 


■ ni 


1 GO 
























B 
GOB 1 


■ B I 

1 b a 


IGO r , r> OG 








B B 


GOB I 
B 1 

B B 


1 a a 

(■ a 








::o""oo 


B B 


B B 












B B 
B B 


B B 










□Q- -QQ 


B B 
B B 


■ B 

■ B GO 










•"go"" 



For warp and filling face the same fancy rib-weave ( 2 4 2 ) is used. Each change in effect 
(after the 4-harness twill, as mentioned before) is arranged for 8 warp-threads and 8 picks 
repeat. Repeat of weave: 32 warp-threads and 32 picks. 



48 

Fig. 207 also has for its principle the four-harness broken twill. Two different common 

rib-weaves are used in its construction, as follows : For the warp effect - 4 ; for the filling effect 

?. Each change in effect is arranged for 8 warp-threads and 8 picks repeat. Repeat of 

weave: 32 warp-threads and 32 picks repeat. 



; a: a 
: a a 
a a 
a a 


b a ~ 
a aaa: 
a a 


i"""aaa C: 


aaa a 
:a b 

a 1 
aaaa c 


aaa 
■ a a 
aaa 
1 a mn 
1 a a:: 


; a a 
! a a 


a a 






a a a 






aa a a 


a b a 1 


1 B II 




aaaa a 


a a a ■ 
















; aaa a 1 










as a 1 


1 a b a 










a a a 1 


1 a bid 








a b a 11 


1 .a a ) 






: aaaa a 


b a a 1 






aaa a 


a a B ■ 1 




.>->-....., 






a a a a 1 


1 B ■ 


□a 




□ a 1 


la a a a 


a_ a a::: 








1 ■ a a 1 






:: 


a a 


la a a a 1 








a a 


■ aaa 1 


1 b aaa: 


: aaa 


BIB 


a a a i 






,' JLJ .,.,.J 



aaa ?: aaa" 



aa ■. aaa 



aaa a a 



'..'" "" 


1 


B B B ' 

: b a a 1 
a ■ b a 






:: a 
a b a a a 


■1 : ::: 
3 a a . 


a a a ■ .aa 
a a a a a 

■OBcaoanaaa 









a btb a a JB SB,. 
1 a :a:a a a a a aaaa . 



BBBBBBBa 



■□BaaaBnacjBGBaBLjj^LjaaLj^uQaa^uHaa 



_ a b aaE 
: a B a a aaa a 
a a b a a aaaa 
aa a a ■ a a a aaa a 
a a b a b a aaa 
□ a a a a aaaa 
■ a b.l ■ n aaa aaa 

Fig. 209. 



Fig. 208 illustrates a figured rib-weave having warp and filling changes equal (^-j— 3 ), and 
with systems of effects arranged to exchange in the shape of the 4-harness even-sided twill. 
(* m * ^) Repeat: 32 warp-threads and 32 picks. 

\BBDB / " 

Fig. 209 illustrates warp and filling changes equal (- s ), both arranged to exchange in the 

shape of an even-sided twill. Examples 204 to 209 will indicate the great variety for figured 
rib-weaves. An endless number of them could easily be constructed. 

In the beginning of our explanation of the common rib-weaves, we mentioned that in " warp 
effects " the warp forms the face and back of the fabric and the filling rests in its centre, while 
in " filling effects," the filling produces the face and back and the warp rests in its centre. To 
improve or increase the strength of the fabric we may interlace the warp or filling threads float- 
ing on the back of the fabric on an extra weave. Figs. 210, 211 and 212 are designed to give a 
clear illustration. 

□QDDDBBBBBDDODDBgBBB 



B a a a a a a ta 
: a a Baa a a aaa 



c.aaB' ib a aaa ■ ■ 
aa b a aaa a a a 


lb a a a a. a a ■ 
a a. a a.' a .a a a 


a a 
a a 
b at 
aaa 


a aaa 
aaa a 
:s a. a 
a a a: 


B 


aaa 
:b b 
a a : 


a ■ 


a a ■ 







n norma: ib; ; :t C""ibbqi b 

III I ' BBS B 

■D BB II BB 



BB BB 

; 



Fig. 210. Fig 211. Fig. 212. 

Fig. 210 illustrates the common g rib-weave (warp effect), having its warp-threads, as 

they float on the back, interlace in rotation once more with the filling, and thus giving additional 
strength to the fabric. 

Fig. 211 illustrates the common g rib- weave (filling effect). The filling, when floating 

on the back of the fabric, is arranged to interlace additional, after the manner of a broken twill. 

Fie. 212 illustrates this additional interlacing arranged with the same twill for each rib. 



Effects Produced by Using two or more Colors in Warp and Filling of Fabrics 
interlaced upon Rib and Basket-Weaves. 

Rib and Basket-weaves are frequently used for producing various effects by different com- 
binations of colors in warp and filling. We will describe a few of the effects most frequently used, 
thus giving the student the necessary points for the construction of any effect he may have occa- 
sion to produce. 



49 



Fig. 2 1 3 illustrates an effect derived by a color arrangement of the warp (dressing), I end light, 
I end dark, and a color arrangement of the filling, 2 picks light 2 picks dark, upon a fabric inter- 
laced with the common rib-weave (warp effect) 3 . 



Diagram for Explain- 
ing Figs. 213 to 224. 
Arrangement 
of Warp 
(Dressing.) 



Weave 



a m 
m ■ 


:; :: c: :) :: ;i 


■ 




■ 






!'1 ■ ' .1 







Fig. 213. 



■ ■ 

■ ■ :: :: :: :: :i :: 
■ a :: :: :: :: :: 
□ a 

:::; :: :: :: :: :: :] 

:; :; :: :: :: b 



■■ 

■■ :::: :::: 

■■ :::; :::: 

■■ 



Fig. 214. 



Fig. 215. 



Fig. 216. 



Fig. 214 illustrates the same weave and the same arrangement of the warp as Fig. 213- 
The arrangement of the filling is also, 2 picks dark, 2 picks light, as used in Fig. 2 13, but is started 
on the opposite shed In Fig. 213 the light filling covers the dark warp and the dark filling 
covers the light warp, and the effect produced are lines across the width of the fabric, (in the 
direction of the filling), each line having the size of two successive picks ; in Fig. 214 the light 
filling covers the light warp and the dark filling covers the dark warp, forming for effect a 
hair-line. 

Fig. 2 1 5 illustrates a heavier hair-line obtained with the common rib-weave filling effect 2 2 . 

Arrangement for the warp: 2 ends light, 2 ends dark. Arrangement for the filling: 1 pick dark, 
1 pick light, each style of warp covered by its own colored filling. 

Fig. 216 illustrates the tricot effect produced on the same rib-weave as Fig. 215 ; also the 
same color arrangement for warp and filling, except that the light filling covers the dark warp, 
and the dark filling covers the light warp. 



■ ■ 

■ ■ :: :: :: c :: 1 






:::: I::::;:::::::::::::: l: 
Fig. 217. 



Fig. 218. 



a " " c v. ' u 
■■ , 

:: :: :: b i; 



FlG. 219. 



Fig. 217 illustrates an effect obtained by combining effects Figs. 215 and 216. Arrangement 
of the warp : 

2 ends light, 
2 " dark, 

2 " light, 

4 " dark, 
2 " light, 

4 " dark, 

16 ends in repeat. 
Arrangement of the filling : one pick dark to alternate with one pick light. 

Fig. 218 illustrates an effect produced upon a fabric interlaced on the common rib-weave 

(warp effect) 3, with the following arrangement for the warp : 

2 ends light, 
1 end dark, 
1 " light, 
I " dark, 

5 ends in repeat Filling: all light. 



50 

Fig. 219 illustrates a hair-line, upon a fabric interlaced on the fancy rib-weave j (filling 

effect). Dressing : 1 end dark, 2 ends light, = 3 ends in repeat. Filling : one pick light to alter- 
nate with one pick dark. Each color in warp is covered by its own color in filling. 

Fig. 220 represents another hair line, having more ground space between each line. Weave: 

fancy rib j -. Dressing: 1 end dark, 3 ends light, = 4 ends in repeat. Filling: 1 pick light, 

1 pick dark. Each color in warp is covered by its own color in filling. 

Fig. 221 illustrates a heavy hair-line effect similar to the one shown in Fig. 215 and is pro- 
duced upon a fabric interlaced with the common 4-harness basket-weave. Dressing and arrange- 
ment of filling : 2 ends light to alternate with 2 ends dark. Each color in warp to be cov- 
ered by its own filling. 

Fig. 222 shows an effect produced with the same weave and dressing as Fig. 221. Filling: 
all light. 



■ 


... 


■ 


'j :: :; 



























■ 

■ :::: :::; :::) 
■■ ::c; :::; r.:z 



■■ ■ 
■■ :::: :::: ::c 
' ■■ :;:: :::: :;:; 












1 1 ■ 
[ :: 


m m § 























:::: c::; :::: 
::u :):: iSV: c::: 



Fig. 220. Fig. 221. Fig. 222. 

Fig. 223 illustrates a " star-effect " obtained upon a fabric interlaced with the 4-harness com- 
mon basket-weave. Arrangement for warp and filling : 

1 end light, 

2 ends dark, 
i end light, 



4 ends in repeat. 



■■ :::: :;:■: :):: i 



las bh_ _ 
:::: :::::: ::;;;: 



[::: :::;:: :::::: 
:aa 3— 






■■ 
■■ 
1 ■■ 

! ■■ 


:::: :::: :::: 




J&MF*^ 




:: A :::: Jlfw : i&^ 


:::: 


: : -::"- :::: :: ii;i a :X: :;!iH c: : :d 


-IT,-. 


:: :: . 3: ;; ;uj 



:::: :::::; ::::;: ::;::: 

Fig. 223. Fig. 224. 

Fig. 224 illustrates another small effect upon a fabric interlaced with the 4-harness basket- 
weave. Arrangement for warp and filling : 
2 ends dark, \ color No. 1. 
4 ends light, J color No. 2. 

6 ends in repeat of color arrangement, and 1 2 ends the repeat of the entire effect. 
It will be easily seen that an endless variety of effects can be produced, but those pre- 
viously given illustrate the most frequently used, and will be a guide for the student in construct- 
ing other effects on 2, 3, or more, color arrangements. 

VI. Oblique Rib-Weaves. 

This sub-division of the rib-weaves is used in the manufacture of a line of fabrics tech- 
nically known as " basket-cloth " ; and they are also used to a great extent in the manufacture of 
worsted suitings, cloakings, etc. For their construction we use the following rule : 



51 



I 


2 

3 


4 



/ 



Divide the repeat, which must be equal warp and filling-ways, in four equal squares. (For 
example, take diagram, Fig. 225. Suppose n a, b, c, d to form the repeat for the weave, warp 
and filling-ways. Small squares numbered 1, 2, 3 
and 4 are the four equal squares required.) Next, 
divide the main square (a, b, c, d) into eight parts 
by running two oblique lines from each corner through 
the centre (e) to the opposite corner. For illustra- 
tion, see diagram, Fig. 226: lines /; to d and a to c, in 
addition to lines f to li and i to g will divide the main 
square a, b, c, d into eight even parts, each of a tri- 
angular shape, as indicated by numbers 1, 2, 3, 4, 5, 
6, 7 and 8. Two methods of construction can next 
be observed : either we fill out every triangle containing uneven numbers with filling-weave 
effect, and every even-numbered triangle with a warp-rib effect, or we select two connecting 
triangles such as 1 and 2 = a, e, b, for warp effect rib-weave, and the next two triangles 3 
and 4 = b, e, c, for filling effect, to be followed by triangle c, e, d with warp effect, and triangle 
d, e, a with filling effect. Weaves Figs. 227, 228, 229 and 230 are constructed according to the 
first-mentioned rule. Figs. 231, 232, 233 and 234 are produced according to the second 
method of construction. 



N. I 

8 ^\ 


2 / 
/ 3 


/ 6 


5 \y 



Fig. 225. 



Fig. 226. 



::::■ ) 
;: ■■■ 

)■■ :: 
■ :::: 

■ ■ 

Fig 



Repeat { ^ war P- 
r \b picks. 



-[;::::::■ ■ 



threads. 



Repeat 



27. 



■ 








:;::■ 
;: ■■ 

■■■■■ : 
■:;: 

■■■ ■ 


III! 


■ ■::: 













-threads 



Fig. 229. 



Fig. 228. 

^□□□□□□■"■~«~ 

E ■ ■ ■■ 

::;;;:::■ ■ 
H :: ■ ■■■■ 
H :: u::» 

■■■■■■""■" Repeat 

■a:: a □ 

■■■■ ■ a :: 

■ ■:::::::: a 

■ ■ ■ ■ :: 

IIJBI ■ ■□□□□□H 

Fig. 230. 



f 8 warp-threads. 
\ 8 picks. 



f 12 warp-threads, 
(12 picks. 



p (6 warp-threads. 

Ke P eat \6picks. 



Fig. 231, 



i' ::::■■ a 



■■ ■ a "i 
■ ■ :: 

Fig. 232. 



■r. :::;■■ ■" 
::::■■■■ 



„ f 8 warp-threads. 

Ke P eat l 8 nicks. 



r ...J\ 


u ■■■ 

■ 











• ■ a:;uq 
■■■ ■ :: 

■ ■::::.: 
KSamOSjBD 

Fig. 233. 



Repeat -f IOwa ;P- 
r 10 picks. 



threads. 



„ t f 12 warp-threads 

Re P eat { 12 picks. 



Fig. 234. 



:; :: :: ;: :: :: 
t: ,a_ ::, :::::: 


:: "!::!!•' 


■■■ ■ ■ ■ 




■ ■ ■■■ 
■■■■■ ■ _ 

■■■■■ 

■■■■ ■ ■ 

■ ■■ 


■ :::::: 

■ :::::: 







Combining Common Rib and Oblique Rib-Weaves„ 

Design Fig. 235 illustrates the repetition of weave Fig. 234 with an 
additional, common rib effect, warp and filling ways, which will form 
horizontal and vertical lines in the fabric for outlining the effect pro- 
duced by the oblique rib-weave. Repeat: 18 warp-threads and 18 picks. 



Fig. 235. 



Derivative Weaves: 



FROM THE REGULAR TWILLS. 
I. Broken Twills. 

" Broken twills " are derived from the regular twills by running the direction of the twill 
one-half of the repeat from the left to the right ; and the other half from the right to the left. 
These changes of the direction of twill must be arranged so as to produce a well broken up 
effect. By means of this break, or change of twill, we produce a like change of the twill line, 
visible upon the face of the fabric ; hence this classification as broken-twill weaves. 

The first number of harness for producing a broken twill is four-harness, and the regular 
twill to be used for it is the - 3 twill. 

After interlacing the first warp-thread in the first pick, and the second warp-thread in the 
second pick, change the direction of the twill by interlacing the third warp-thread with the 
fourth pick, and the fourth warp-thread with the third pick. 



a "->':w - 

a ■ 

□□□□DB " " ■ 
BDDDBDOn "j iB I '■:.': 

ODKHXMD BBnBBBOB i B TJBDQ LB " JC i..« j "» ': ] 

QDOBOOQB BBB BBB ; ■ ■ B B 

■ ■ ~ B BBB BB ''■ ■ B ■ 

BQQQBOCO .«■■■■■ ■ a ■ '" m 

-1 a ' DBD ■'■■ IBBB. B ■ ■ DGDDDBGDDDaB 

noDBnaaB ■■■■«■ i BDOOBQna ■ _ ■ 

DBDDDBnn B ■■■ ■■ DBaQDBnQ b : b: 



Fig. 236. Fig. 237. Fig. 238. Fig. 239. 

Fig. 236 illustrates this 3 4-harness broken twill (filling for face in fabric). 

Fig. 237 represents the opposite effect, or the j 4-harness broken twill (warp for face in 

fabric). 

Fig. 238 illustrates the 4-harness ! 3 twill, broken only filling ways. 

After running 3 picks on regular twill from right to left, its direction is changed from left to 
right for the next 3 picks. Repeat : 4-harness, 6 picks. 

Fig. 239 represents the broken twill derived from the six-harness ! § twill. Three successive 

warp-threads are interlaced with three successive picks in regular twill from left to right, and the 
remaining three warp-threads and three oicks are interlaced in the opposite direction of twill, 
i. e., right to left. 



■ B ■' a a 

a ■ o — 

■ B 

innc- .";:."' b • \.. ,:j.j ■ a . 



B 



;□□!■ ::b ::b b b c.mi: :: 

■ 



B 

1 ::i 





■:: 


~i7' nooi 1 




"Mi: 






"::■ 


:;« 




;:■ 


::m 




::■:; 


:;■:: 




;b;; 


■:: 




■:: 1 


:; 




■:: 


■:: 










::n 


::■ 








1 


■:: 1 


1^ 



■ ::b ■ aanr.n a a ::aE k a 

:-:b:: ::b:: : i bo..! v.. Jj. • a:: 

t:an ::ac; nDDG r :> 11;.. ■ ;_i n 

a:: a:: 3GC. a _ a 

a:: ■:: 1 jqq:_: a b 

Ban ::■:] r:a:: ja ] 

b ::bc; ::bm dljdc 

jqb "u 'ob dddc 

gdq ::b . ::a dgdb 



[:■:: : 



■:: 

a a:: 

:: :: :;b:: 

a a ::e 



■ ■ 



aaa ::■:: dboo inn ■ anna 

ib _. ,b.___. iaa Ba iBonc; a .jgdgd iaa_ a a Ba a a. i 

Fig. 240. Fig. 241. Fig. 242. Fig. 243. 

Fig. 240 illustrates the ^ 8-harness broken twill. 

Warp-threads 1, 2, 3, 4 interlacing in rotation in picks 1, 2, 3, 4. 
5, 6, 7, 8 " " " 8, 7, 6, 5. 

Fig. 241 represents twill, fig. 240, arranged for a fancy combination by adding spots, regularly 
distributed over the entire repeat. 

Fig. 242 shows the l - 9 10-harness broken twill. 

(52) 



53 



Fig. 243 represents a fancy combination weave produced out of weave fig. 242. The 
original 10-harness broken twill is shown in Fig. 243 in the same kind of type as in Fig. 242. 

Fig. 244 illustrates the regular 2 - g twill, arranged for a broken-twill weave (broken in the 

direction of the warp). After running six warp-threads in the direction from left to right (regu- 
lar), we form a break and run warp-threads 7 and 8 with the twill in the opposite direction. 



■■ ■ ■ ■■ ■ 
■■ ■■ ■■ ■■ 
■■ ■ ■ ■■ ■ ■ 
■ ■■ ■■ ■■ 



Repeat 



f 8 warp-threads. 
^ 4 picks. 



Fig. 244. 



By means of a fancy drawing-in draft (1, 2, 3, 4, 1, 2, 4, 3) we can arrange this weave for 
four-harness, having the foundation weave (- 2 regular twill ) for the harness-chain. 



■■ ■ ■ ■■ ■■■ ■■ ■ ■ ■■ ■■■ 
■■■ ■■ ■ ■ ■■ ■■■ ■■ ■ ■ ■■ 
1 ■ ■■ ■■■ ■■ ■ ■ ■■ ■■■ ■■ ■ 
■■ ■ ■ ■■ ■■■ ■■ ■ ■ ■■ ■•■ 
■■■ ■■ ■ ■ ■■ ■■■ ■■ ■ ■ ■■ 
■■ ■■■ ■■ ■ ■ ■■ ■■■ ■■ ■ ■ 
■ ■ ■■ . ■■■ ■■ ■ ■ ■■ ■■■ ■■ 



Fig. 245. 



F.G. 246. 



Fig. 245 shows the 6-harness 3 twill, arranged as follows : 

9 warp-threads twill from left to right, break, and the next 
3 " " right to left, " 

3 " " " left to right, " 

9 " " " right to left. 

24 " in full repeat. 

Drawing-in draft will call for 6-harness ; and for harness-chain the foundation twill - — 3 must 
be used. 

Examples Figs. 244 and 245 will also illustrate and explain any different changes in using 
a different number of warp-threads in rotation before breaking off. In this selection we have an 
unlimited variety at our disposal. 

Fig. 246 illustrates the breaking off of every three warp-threads in rotation upon the 7-har- 
ness - — j twill. 

Fig. 247 represents 5 warp-threads of the 3 t 3 3 ' 3 twill, used successively from the left to 
right ; next a break and five additional warp-threads, used with a twill arranged from right to left. 
These breaks may also be applied to different graded twills as 27 — 63 — 70 , etc., and which 
will be treated under the sub-division of the regular twills in the next chapter. 

For illustrating this point Fig. 248 is designed, representing 12 threads of the 63 steep- 
twill 5 2 ' 2 in a direction from left to right, and 12 additional threads of the same weave having 
its direction of twill from right to left. 



1' ■ 
1 ■ 


m ■■■ ■ 
■■ ■■ ■ 


■ ■■■ 
■■ ■■ 


■ 


■ ■■■ ■ 


■■■ ■ 
■ ■■■ 1 


■■ 


■ ■■ ■■ 




■■■ 

■■■ 


■ ■ ■■■ 
■ ■ ■■■ 


■ ■ 
■ ■ 






■ ■ 








■■■ 


■■ ■■■ 


■■ 


<UC .- 





■ ■■■ 



■ ■■ 
■■■ 
■■ ■ 

■■ ■ 


■ :■■ ■ 
■ ■■ 
■■ ■ 

■■ ■ ■ 


■1 

■ 1 

■ 1 

■ 


■■ ■ 
■■ ■ 

■■■ 

■■■ 


■■ 
■■ 
■■1 

■1 


■ ■ 

IB 


■ ■ ■ 


■ ■ ■■ 


■ 


■■■ 


1 


!■■ 


■ ■■ 




■ 








■■■ 


■■■ 


■■ 


1 ■ ■ 


■ ■ 


1 ■■ 






■1 








■■■ 


■■■ 


■ 1 








■■■ 
■■ ■ 


■■■ ■ 
■■ ■ ■ 


■ 


■■ ■ 
■■■ 


■1 
■1 
■ ■ 

■ 
■ 


1 ■ 

II 


■■ ■ 
■ ■ ■ 
p ■■ 


■ a ■■ 

■ ■■■ 


■ 
■ 


■■■ 
■ ■■ 


■ ■ 



Fig. 247. 



Fig. 24S. 



The arrangement of a steep-twill containing 70 , 63 , 45 , 36 grading, combined for a 
broken-twill, is shown in weave Fig. 249. Repeat: 48 warp-threads 12 picks. 

The foundation-twill for this weave is the regular 4 - r 1 T J ^ 12-harness twill, which is also 
used for harness-chain if using a cross-draw for drafting weave Fig. 249, for 12-harness. 



54 



The next sub-division of "broken-twills" out of "regular-twills" is found in arranging the 

breaking off filling ways. For example: Fig. 250 illustrates the 4 4 twill broken filling ways 

after every four successive picks. Repeat : 8 warp-threads and 8 picks. 



na . 

KB 

a:; 



bbbbbb as 



■■■■■ :: ■ ; 

B9IE S' 

:::: bbbb a 

. H ■■■■ 

.■■■■□ 



a;; ■■:: '■■ ■•si :::: 
■a ■■ bbbb c: _ 



BB HE2 

■■■ , u ■■ :;bb 
bbbbb :::: c: ebb:: ■:: 
■bbbbb :n □ bb ::a ~ 

■■■■■■ □ ::bbb:: bb 

:::: bbbbbb r: bb h:: 

□ bbbbb h n ■■:: r.a 

::n bbbbb □ ::bb bb 

bbbb h bb:; b 

:;h bbbb :; ::bb ::h 

H BBBB ' BB □ 

a :.□ ■■■!:> :;bb:: ~ 
■B :x; _ :: bbb :: a :: 
ibb :: ■■■ ::■■ 
■bbbb :::: :: bbb:: ■:: 
■bbbbb i :: bb ::■ 

bbbbbb :: . cbbbb .. bb. 



_"_ BBBB 

BBBB 

BBBB r ~ 

■■■ ■ 

BBBB 1 B 



■ 
1 ]□ 



Fig. 249. 



Fig. 250. 



Fig. 25 : shows the ? 3 twill broken filling ways after every four picks. Warp ways 2 threads 

are missed after every 6 warp-threads, to produce an additional fancy effect. Breaking off regular 
(or steep) twills in the direction of the warp and the filling will form the next movement in the 
construction of broken-twills out of the regular twills. In this manner Figs. 252 to 255 are 
constructed. 

□ BB BB B 'BBB -■■"!□□■ 
BBB B BB BBB B3DJBB 
BBB BBS BBB BBB 
B BB BBB B BB BBB 



[ :■".' ~r. ::n :: :: :::: 
:::: :: 
:::: 



c: o:: an 
:;:: :::: a" 

1 :■:::■; ::□. 



::;: ;: 
:::: 

:: :;:: 



:: :: ;::: :: :: :::: 
:; :::; :;:: :::: :: 
:::: :::: :;:: :::: 

:; :: :::: :: :: :::i 
b bb b b bb b 
i bb bb bb' 'bb 
bb bb bb bb 
ib bb ■ b bbb 

Fig. 251. 



Bli : BBBZ 



'B . ." BB "", ■ ■■ ■ 

Fig. 252. 



B B. BBB 



- ~BB 


"-BB-B- 


a 


bb a a 


■ 


a 


Bl 

a 1 


li BB' 

ib a a 


BB 

a a 


BB fl 
B B 


B 

a 


BB 

■fl 


BB 
-< -__ Bl 
BB 
■ ■ 


BB BB 
BB 

BB B 

;b b b 


: a 

BB 
B 
• B 


B BB 

BB ' a 
BB' B B 

.■ B B 


B 

a 
a 

B' 


■fl 
■ 

BB ] 


BB 

in ai 


BB BB 
BB 


.'BB' 
BB BBB 


BB 
E BB 


BB 


BB B 


B 


BB fl ■ 


a a 


a 1 

. ■■ 


IB lB B 

' BB B 


a a 
a 


1 B a 
BB B B 


B 

a 


BB 
B 


Bl 


BB 


BB 


BB BB 


BB 


B 


IB B B 


■ B 


■ B 


B 


BB 


BB 
Bl 

BB 


BB BB 
1 BB 

bb a 


a 

■ B 

a 


B BB B 

BB..' BB " 

aa fl a. b 


B 
BB 
B 


BB 
B ■ 

r." bi 
aa 

BB 

l»_ 1 


BB BB 

IB a B 

BB 

IB B 

■ ■ BB 

ia ■ B 


B 

■ m 

BB 

a 
a 
a a 


B BB B 
fl fl ■ 

BB BB : 

bb a a a 

B BB B 

a B B 


B _ 
BB 
BB 
B 

a 

BB 



Fig. 253. 



Fig. 252 is obtained from the 3 3 twill, by arranging the breaking off in the direction of the 

warp and filling, after every 6 successive threads. Repeat: 12 warp-threads, 12 picks. 

F'g- 253hasforits foundation the regular r , 4-harness twill. Arrangement for breaking the 

weave after warp-threads 8, 12, 16, 18, 20, and 24, thus forming twill effects of three different 
sizes as follows : 2, 4 and 8 threads. 
£■„■- ■a'anj Another step towards figuring for broken-twill designs is that of using a 

m * ■„■ "^ motive (effect) for figuring by means of the two directions of the twill. To 
"■ BB ""-" M "3 illustrate this method Figs. 254 and 255 have been designed. 

Fig. 254 illustrates two repeats of the motive, warp and filling ways. Fig. 255 

shows this motive applied to a broken-twill weave produced by the - 3 twill. 

12 warp-threads and 12 picks are used for each part of the effect in the motive; 
therefore, as 6 parts compose the motive, we have 6 X 12 = 72 warp-threads and 72 picks the 
repeat for the complete design. ■ in motive, is illustrated a in the design ; n in motive is 
shown b in the design. 

Warp-threads 1 to 12 in the weave equal the longitudinal row 1 of squares in the motive. 
Warp-threads 13 to 24 in the weave equal the longitudinal row 2 of squares in the motive. 
Warp-threads 25 to 48 in the weave equal the longitudinal rows 3 and 4 of squares in the 
motive. 

Warp-threads 49 to 60 in the weave equal the longitudinal row 5 of squares in the motive. 
Warp-threads 61 to 72 in the weave equal the longitudinal row 6 of squares in the motive. 



■a .■ 

Fig. 254. 



55 

Picks I to 12 in the weave equal the horizontal row i of squares in the motive. 
Picks 13 to 24 in the weave equal the horizontal row 2 of squares in the motive. 
Picks 25 to 48 in the weave equal the horizontal rows 3 and 4 of squares in the motive. 

■ ■■■ ■■ qqq on:: :::::: ;:c::; 



■■■ ■■■ 
■■ ■■■ 
■ ■■■ 
■■■ ■ 
■■■ ■■ 
■■■ bbi 
■■■ Baa 
■■ laa 



■■ ■■■ 
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aaa 
■■■ 









:::::: 

■ 
■ 

■•::.,■ 


■■■ . aaa 
■■■ BBB 
•■■ ■■■ 
■■ ■■■ 
■ ■■■ ■ 
■ ■■ ■■ 
■■■ ■■■ 








G 


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■■ 


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aaa ■■■ 

■ ■ ■■■ B 




■ ■■ 


BEfl 






:: ■■■ ■■■ 
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:: 









c: 

a 
:: ll 

■■■ 

■a 

■ 


■aa ■■■ bbb ibb 

■■ BBB BBB BBB □ 
I IBB BBB BBB :JC 

■ HI BBB BBB 
BBB BBB BBB B UQQ : 
BBB BBB BBB BB 








:::::: 

:::: 

:i 

:::: 
:: 








:; aa 

111 


■b bbb bbb bbb u 
■ iib bbb bbb □;:: 
bbb bbb bbb 












t m 

a 
:: la 

■■■ 
■■ 


BBB BBB 
BBB BBB 

bbb aaa 

■B BBB B 

■ BBB BB 

BBB BBB 


bbb a :::::; 

BBB BB 
■BB BBB 

■a bbb :: 

I BBB 

bbb ::::;; :;: 



























a ■ ■■■ 


'""'"■■ 






■■■ 


■■■ 








■■ 
■■ 
: m 


■ ■ 
■■ 
■■■ 
■■■ 


■ ■ 
■■ 

■■■ 


-■' 


"""'■■ 


■" . 


a m 

aa 

■■ 
■■ 


■■ ■■■ 
■ ■■■ 

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■ ■■ 


■■ 


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■ 

■ 


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■■ 


■■ 






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■■n 


■■ 


■ a^ 






■ ■ 

■ ■ 


■ ■ 
■ 


■■■ 

■ ■ ;._ 


■ a 


aa . 


jaa 



BBB 
BBB 
BBB 



::::~ :::::: :::;:: 
Fig. 255. 



Picks 49 to 60 in the weave equal the horizontal row 5 of squares in the motive. 
Picks 61 to 72 in the weave equal the horizontal row 6 of squares in the motive. 



Using two or more colors in Warp and Filling for Producing effects in Fabrics inter- 
laced with Broken Twills. 

In Figs. 256,257 and 258 we illustrate three-examples of effects produced upon broken twills 
by various arrangements of colors in warp and filling. In Fig. 256 the common 3 ; 4-har- 





Bl 










: 




a 


■ 
































CX ' : 'i 






BB 
B 


BB 

a a 


B 
























" S3 






: ' 11 ' : 






•:• 



■■r«" ,f 






BBB ' ' v 
B BB 


P 




m 
























m 


1 


| 




■:h 



■bb nm 

a aa *a 

BBB 


a 

B 




■a >l<a 

BB -:a 
Lilt .1 ii -:-a li 11 


a 
a 
a 
a 
a 
a 
a 


•:■■ 
■ 
■ 

■I'B 
>I'B 

vl 

:-a 

















.■:• 








:■■:• 
:■•:■ 



ijj.i ■ .fijgj. iisj, t^a 
Fig. 258. 



Fig. 256. Fig. 257. 

ness broken twill is showrt arranged for 3 ends light, 1 end dark, or color No. 1 and color No. 2, in 
warp and filling. The effect obtained is a " hair-line," very extensively used in the manufacture of 
worsted and woolen trouserings by reason of the clear and distinct line-effect this weave produces. 



56 

Fig. 257 illustrates the same weave (4-harness broken twill) arranged for three different 
colors. Arrangement for warp and filling : 2 ends light or color No. 1 ; 1 end medium or color 
No. 2; 1 end dark or color No. 3. 

Fig. 258 illustrates the 8-harness broken twill (broken, warp and filling ways, every four 
threads), arranged for 2 ends light to alternate with 
2 ends dark, 

4 ends in repeat of color arrangement and 8 ends repeat for weave and effect. 



II. Steep-Twills or Diagonals. 

The next sub-division of the common or regular twills are the steep-twills, which are derived 
from the -latter by using either every other or eveiy third, fourth, etc., warp-thread in rotation for 
forming the weave. 

1st. Steep-Twills having 6j° grading 

are obtained by using every alternate warp-thread of a common twill. To illustrate their method 
of construction Figs. 259, 260 and 261 are designed. 

Fig. 259 illustrates the regular 16-harness twill, 



■ 
■ 

i : 

j 

B 

U 


a 

: 

a 
a 

a 
an 


. a 
a 

■ 1 
a 

IBB 

■ BB 

■ m 


BBB 

BBBB 

BBBBB 

■■ana 

■ BBB J 

BBB :~ 
BB B 


BBBB 

■ BB ] 

■ ■ 

■1 a 
a i 

'B : 1 
B .' 

j i a 












an 


im 


an 


,■': 

B 


b a 












Bi 

nn 


aa 
a 


IB 


B 

: Bill 


BBB 
BBBB 


a 


^B 


_J_ 







Fig. 259. 



C 'B ' B "'SBBSBBSBBSa 
CSB . SB BSBBSBBSBBll 

■ B : iBBSBSBBSBG' I 
GGISB ' .BSBBSBBSBB I ,H 
1 B _jSBBSBB>BB* B . 

* ■*■*■*■ SB 

K'Bsa a : 

GDBSBSBEBGGtBGDGSB 

:saBsaaaiB!a a b 

■ SBBSSBSSB IB i -I- 



:sb 



SB 



Fig. 260 represents the same weave, every other 
warp-thread indicated by a different kind of type. 

Fig. 261 illustrates the steep twill or diagonal weave 
as obtained by using only warp-threads shown in Fig. 
260 with ■ 

This example of constructing a steep twill out of a 
regular twill, which has an even number of warp-threads 
for its repeat, will also explain that the former requires 
only one-half the number of harness that are used in 
the foundation weave. 



rB'BlBBH 
GGDGBBBB 
BGBGBBBD 

BBBB 
!■■■■■ 

ccbbbbig 
bcbbbgbg 

riBBBBlll 

■ an b b 

I111G 

a bi 

. . - :■ 

a a - 

. ■ 

a Bi- 

1 

. B ■ ■■■ 
BBBB 
■ ■ ■■■! 

BBBB 

■ ■■■ ■ 

(.: .BBBBll 
B ..BBB.1B1 
[ ■■■■ 

■■■ ■ a 

BBBB 



BBB ■ B 

■BBCGCOr 
■ BGBCBOI 

BBinir 

a b an 
a 

mil 



■ B ■ ■ ■ 

■ ■ 1 BB 

■ B ■ BB 

■U1-„BBB 



moLSk ubggbei 

Fig. 260. 



Thus the present example — Fig 2 6i. 

16-harness for regular twill only requires 
8-harness for its corresponding steep twill. 
If we construct a steep twill out of a regular twill which has an uneven number of harness for 
its repeat, the same will not be reduced as in the case with an even number. Thus, 9-harness in 



acaGBaa 

-. B 

B BB 
BBB 
1. BBBB 
1 BBBBB 
BBBBBB 


BBBBBB 

BBBB 
BBB B 
BB: B 

■ . BT1 

JIM 


■ ■■BB 

BBBB 

BBB. 


B ■ 

B BB 
B BBB 


IBCGGB^ 


BBBBB 



1 .-, ,:.n,;-s*i 

' SB lEBSBBSBBll 
■ BsB! 

.SBBSBI 



B 



"1SBB 

SB 

■ 

ISBBS3BSB : ■:■ 
itivGiu a 

SBBSBBfB: SB . i 






SB 



■ 



C'i" ,_ BI 

I B BBC 

BBI 


■ ■ ■■■ 

■ ■■ 
> ■■■ } 


1 BBB 


■ IBB 


! BBB 1 
BBB. 
BBB B 

BB 


BBB 

aan ■ : 

BBB 

■■■: ■ ■ 


B I 


IBB B BB 


B B BI 












BBI 

B BBB 


1 ■ am 

_ - aaa : 


BBB 




[ BBB I 

BBB ' .. 


BBB 

'i BBB Bl 


■BB B 


BBB 


BB ■ D 


IBB B 






■ ■ ■! 


IB :_bb 



Fig. 263. 



Fig. 264. 



the regular twill requires 9-harness for the steep twill. Again, 11-harness regular twills require 
1 1 -harness for the repeat in their respective steep twills, etc. 

For example: we give in Fig. 262 the regular twill known as 6 3 x 3 . 13-harness repeat. 



57 



Fig. 263 illustrates again the analysis of the same with the view of constructing its respective 
"steep-twill," which is illustrated in Fig. 264. An examination of Fig. 263 shows warp-threads 
I and 13 indicated by the same kind of type; so, in constructing the steep-twill after using warp- 
thread 13 of the common twill for warp-thread 7 of the steep-twill, we must use warp-thread 2 of 
the common twill for warp-thread 8 of the steep-twill, and so on, until warp-thread 12 of the 
regular twill forms the last warp-thread (13) in the repeat for the steep-twill. 



■ ■■■ ■■ 



■ ■ 


■ ■■ ■ 


■ ■ 


■■ ■■ 


■ ■ 1 


■■ ■■ 1 


6 ■ ■ 


■ ■■ ■ 


II B 
■ ■ BB 


■ ■ 



Fig. 265. 



■■ ■■ 


■ ■■ ■■■ ; 


■ ■■ ■ 


■■ ■■■ ■ 


- ■■ ■■ 


■ ■■■ ■■ 


BB BB 


I. ■■■ '■■■ 


■ ■ BB 


■■■ BBB 1 


■ BB ■ 


aa ■■■ ■ 
1 4 


Fig. 266. 



□■OMHBDH 


D .■■■"" '■■■ 


■ ■■ ■ ■■ 


■■■ aaa 


■■■■■■ 


■■■ ■■■ 


aa a aa a 


■■ ■■■ ■ 


■ ■■■■<■ 


■ ■■■ ■■ 


a bb b bb 


■■■ ■■■ 


■■■■■■ j 


■■■ ■■■ 1 


■■ ■ bb a 


■■■ aaa 


■■ ■ bb a 


■■ , ■■■ ■ 


■ ■ IBB ■' ■ 


■ ■■■ ■■ 



ogre 


wmrr.i 


> an 


■■■ 


■■■ 


1 ■ ■■ ■ 


■■ 


■■■ 


■■■ 1 


■ ■■ ■ 


II 1 


1 ■■■ ■ 


■■ 


' ■■ 


a bb ■ 


■■■ 


BB 


a 


■■ 


■ ■■ 


a 


■■ 


■■■ 


■ 


■ > ■■ 


■ ■ 


■ 


■ ■■1 


■■ 


■ 


■ ■ 


■ ■■ 


■■■ 


111 


■ ■■ ■ 


aa 


■■■ 


■■■ -1 


■ ■■ ■ 


■■ 1 


■■■ ■ 


an i 1 


■■ 


■ ■ 


a' ■ 


■■■ 


■ ■■ 


■■ 


■ ■■ 


■ 1 


■■ 


■■■ 


■ 


■ ■ HI 


a a 


b 


■ ■■ 1 


■■ 



Fig. 267. 



These two examples will easily demonstrate to the student the great amount and variety of 
steep-twills, 63 grading, which can be constructed out of the common or regular twills of 45 
grading. 

Weaves Fig. 265 to 276 illustrate a few of the steep-twills most frequently used. 

Fig. 265 illustrates a 3-harness steep-twill (63 ) derived from the regular twill, 2 „ ' , 
Repeat : 3 harness and 6 picks. 



■ ■ BB IBB 
B B 

a a 



aa a a aaa 



aa b a in a 

■ a a aa ■ _ 

a a a bbb a a 1 



a j 
j a 
a ■ 



Fig. 269. 



Fig. 270. 



■OQQBBO 

Fig. 271 



■■ 

■ B 

a ■ 


BB _r 
Bl 

IB 


aaa 

1 BBB 

BBB 1 


■ 


BB 
1 1 


BBB .1 
IBB B 


BB BBB J 
■■ BBB. ,■■ 

aa bbb 1 :a 

■ , BBB BB ] 

BB BBB . B 

BBB BB 

IB BBB 1 BB 
BBB BB 

a BBB BB 
BBB BB B 
BBB BB B 

BBII BB BB 

BBB BB BB 



Fig. 266 represents the 4-hamess steep-twill (63 ) derived from the regular 8-harness twill 
-j. Repeat : 4 harness and 8 picks. 

Fig. 267 illustrates the 5-harness steep-twill (63 ) derived from the regular 10-harness twill, 
-.,. Repeat : 5 harness and IO picks. 



-IB BBBB BBBB B BBBB HID 

r: aa aa aa aa aa aa 

B BBBB BBBB B 'BBBB BBBB 1 

BB BB J .BB BB BB BB ] 

L BBBB BBBB B BBBB BBBB IB 

■B BB BB ] BB BB BB I J 
■BBB BBBB B BBBB .BBBB B 

a bb . bb aa bb bb a 

■ BB BBBB IB BBBB BBBB B B 



'■< BBB BBS BBB BBB BBB BBB 



BB BBB BBB BBB BBB BBB B 
BB BBBB BB BBBB 

■ BBB BBB BBB BBB BBB BB 
BB BBBB BB BBBB 

' BBB BBB BBB BBB BBB BBB 
B BBBB BB BBBB I 

■ BB BBB BBB BBB BBB BBB 



■BB BBBB B BBBI 

■■ ■■ ■■ ■ 

■ ■ BBBB B BBBB 



BBB BBB BBB BBB 



■a aaa bbb bbb bbb bbb b 

■B BB BBBB BB BB 
B BBB BBB BBB BBB BBB BB 

IB BB BBBB . BB BBB 



Fig. 272. 



Fig. 273. 



Fig. 268 represents the 6-harness steep-twill (63 ) derived from the regular 12-harness twill, 
- 4 . Repeat : 6 harness and 12 picks. 

Fig. 269 illustrates the 7-harness steep-twill (63 ) derived from the regular 7-harness twill, 
- 3 . Repeat : 7 harness and 7 picks. 



58 



Fig. 270 illustrates the 8-harness steep-twill (63 ) derived from the regular 16-harness twill, 
•2-%. Repeat : 8 harness and 16 picks. 

Fig. 271 represents the 9-harness steep-twill (63 ) derived from the regular 18-harness twill, 
Repeat: 9 harness and 18 picks. 



Fig. 272 illustrates the 12-harness steep-twill (63 ) derived from the regular 24-harness twill, 
Repeat : 1 2 harness and 24 picks. 



Fig. 273 represents the 12-harness steep-twill (63 °) derived from the regular 24-harness twill, 
, ' , ' , 2 1 ' ! ' ; ■ Repeat : 12 harness and 24 picks. 



a 1 


1 aa 1 


aaa 




a bb 




a a 


aa bi 


IBB 


■ 


BB 1 












BB BI 










a: ; a 


IB BB 




a aa 






a ai 


BB 


B 


a bb 1 






a bb 


BB 


a 








a bb 1 


a 


a " 















6Da~n-a 
ill a 
a aa 
[ a bb 

i: BBS 

ri aa " 
G aaa 


BB' ' B BB 

a a aaa 

a a bb i 

B BBB 

B. BB M 

a aaa 

a. bb a 


■■■ : 


a •■ ■ i 


□aa a " 


BBB . B 


BB iB : 

aa , a 
a 1 : a 

ia _;bj 


I BB a 

BBB : B 1 

aa a: 11 : a 

BBB ■ I 
BB B KB 



32CCW 


U'~ 


IB 


■ ■ 










[ a 1 














a a 


BI 


:aa bi 


IB.' 






c a:. 


■a 


■ B 




B ■ 




" bbbb: 








1 ' BI 




■ BBB 


a ai 






1 ■■■ 




aa 








l BBBI 








■ a 1 








BIBB 


■BBB. 


a 


BB BI 




.. B 1 


BBB ■ 


■ BI 




a 




IB 




a 








DBB I 








B BBIB 


B 


























aaaa. 


■ 




■ Bi 






■ 


BB 








BB ■ 




BB 


BB 


I 




a a 


B 


. BB BI 


IBuCCB 





■ BBB 1 



Fig. 274. Fig. 275. Fig. 276. 

Fig. 274 illustrates the 14-harness steep-twill (63 ) derived from the regular 28-hamess twill, 
Repeat: 14 harness and 28 picks. 



Fig. 275 represents the 15-harness steep-twill (63 ) derived from the regular 15-harness twill, 
~-x z - Repeat : 1 5 harness and 1 5 picks. 

Fig. 276 represents the 16-harness steep-twill (63 ) derived from the regular 32-harness twill, 
, ' , 5 i ' ; ' ; ' y Repeat: 16 harness and 32 picks. 



2d. Steep-Tzvills having a grading of jo°. 

These twills are derived from the regular twills by using every third warp-thread in rotation for 
the construction of the new weave. To give a clear understanding diagram 
No. 277 is designed. A represents one repeat of the regular twill known as the 
4 1 ' 3 8-harness twill; B illustrates the drafting of the different warp-threads 
according to previously given explanation for forming C, the new design. 



1 


Z. 3. V. 5. 


t>. 7. 8. 














J 














j 










































] 














F 














j 














t 




t: a - 
a 

one' 

I! bi 

■ a 
a : 

B B 



■ROQ" 

□ i 
. a 
B : 

a 

laoannaa 

Fig. 278. 



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a BBB 

B BBB 





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1 Z. S. H. 5. 6. 7. 8. 
Fig. 277. 



Fig. 2S3. 



Fig. 279. 

Arrangement of drafting: 1,4,7,2,5,8,3,6. Repeat: 8 harness, 8 picks. 

Fig. 278 represents the regular twill known as 3 3 * v and 
Fig. 279 represents the steep-twill (70 ) derived out of it. Repeat : 8 harness, 8 picks. 
Fig. 280 the regular twill 3 8 1 3 is shown, arranged for a 70 steep-twill in Fig. 281. Repeat : 
IO harness, 10 picks. 



59 



is shown, arranged for its yo° steep-twill in 
-?- 2 , and Fig. 285 the 70 steep-twill 



Fig. 282 the regular 12-harness twill - 
Fig. 283. Repeat: 4 harness, 12 picks. 

Fig. 284 illustrates the regular 15-harness twill 
derived out of it. Repeat: 5 harness, 15 picks. 

Fig. 286 represents the 70 steep-twill designed out of the regular twill 6 3 * 3 (shown in 
Fig. 262, page 56). Repeat: 13 harness, 13 picks. 

Fig. 287 illustrates the steep-twill having 70 grading, which is derived from the regular 
twill 7 „ ' ' 2 (see Fig. 259, page 56). Repeat: 16 harness and 16 picks. 

a ■■■■■■■■■ 
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Fig. 284. ' Fig. 2S5. Fig. 286. Fig. 2S7. 

These few examples (Figs. 277 to 287) will easily explain the method of construction for 
these weaves; we would only add that if the number of harness in repeat for the regular twill 
can be divided by 3, the number of harness in repeat for the steep-twill will be reduced one- 
third, as follows: 

12-harness regular twill to 4-harness steep (70 ). 

IS " " " S " 

18 " " 6 " " etc., etc. 

Any number of harness repeat for a regular twill which cannot be equally divided by 3 
requires the same number of harness for the steep-twill as is used in its foundation twill. 

3d. Stcep-Tivills having a grading of 75° . 

Weaves of this sub-division of the regular twill of 45 ° grading, are derived from 
the latter by using every fourth warp-thread in rotation. In constructing 75 ° steep-twills out of 
regular twills having a number of harness for their repeat which can be divided evenly by four, 
only one-fourth the number of harness are required ; for example: 

12 harness " regular" = 3 harness " 75° steep." 
16 " " =4 " " " 

20 " " =5 " " " 

24 " " =6 " " " etc., etc. 

Again, in constructing 75 steep-twills out of regular twills having for their repeat an even 
number of harness not called for in previous rule, the number of harness required is lowered 
one-half ; for example : 

14 harness " regular " = 7 harness " 75 ° steep." 
18 " " = 9 

22 " " =11 " " " 

26 " " =13 " " " etc -» etc - 

These two given rules will readily explain a third, as follows ; 

Every regular twill of an uneven number of harness for its repeat, if used for the construction 
of a steep-twill of 75 grading, requires every warp-thread of the former used; or in other words: 



60 

Steep-twills of 75 grading, constructed out of regular twills having an uneven number of harness 
for their repeat, require an equal number of harness for the former ; for example : 
9 harness " regular" = 9 harness " 75 steep." 

11 " " =11 

I 3 « « = I3 

'5 " " = 15 " " " etc., etc. 

To give a clear understand- 
ing of the construction of the 
75° steep-twills, diagram 288 is 
designed, illustrating under A 
one repeat of the regular twill. 
6 i x 4 =15 harness. 

B illustrates the drafting of 
the different warp-threads (after 
rule given at beginning) for form- 
ng C, the new design. 

Arrangement of drafting : 
1, 5, 9, 13, 2, 6, 10, 14, 3, 7, 11, 
15, 4, 8, 12. Repeat: 15 har- 
ness, 15 picks. 

Fig. 289 represents the regu- 
lar twill, e 4 2 4 for 16 harness 
repeat. 

Fig. 290 shows its 75 steep- 



en 



1 2 


115 6 


7 8.9.10.11 I* IS. 11. 15. 












15 












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Fig. 289. 



1 2.3.4.5.6 1 8-3iO.llftlS.RlS 



twill derived by drafting 1, 5,9, 
13. Repeat: 4 harness, 16 picks. 
Fig. 291 illustrates the steep- 
twill of 75 grading which is de- 
rived from the regular twill of 
45 grading, ^-L_ = 13 har- 
ness. (See Fig. 262, page 56.) 
Repeat: 13 harness, 13 picks. 



■ ■ ■ ■ 



QBBDQBBn 

■ ■ ■■ 

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■■ ■■ 
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Fig. 290. 



Fig. 291. 



III. Reclining Twills (27 grading). 

This sub-division of the regular twills has its principle of construction very nearly 
related to the ones given regarding the steep-twills ; in fact, points given in the latter as to 
warp will apply in the present sub-division of twills to the filling. Therefore in constructing a twill 
of 27 grading out of a regular twill of45° grading, we only use every alternate pick of the latter. 
For example, Figs. 292, 293, 294, 295, 296 and 297. 

*■■■" ~M SSSEBDDDQEB ■■P^ZBBBBZq^CBB 



lBBBBDOOb 

Fig. 292. 



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Fig. 293. 



Fig. 294. 



Fig. 292 represents the regular 8-harness twill - 4 . Fig. 293 illustrates the same twill 

analysed, every alternate pick indicated by a different style of type. Fig. 294 represents the new 
weave, derived from weave Fig. 293 by using only picks 1, 3, 5 and 7. Repeat: 8 harness and 
4 picks. 



61 



Fig. 295 represents the regular twill — 
is the reclining twill derived from the latter 



—5 = 9-harness. Fig. 296 is its analysis. Fig. 297 
Repeat : 9-harness and 9 picks. 

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Fig. 295. Fig. 296. Fig. 297. 

These two examples will clearly illustrate the method to be observed in designing reclining 
twills for any number of harness. Regular twill weaves with an even number of picks in repeat 
reduce to one-half the number in the reclining twill ; again, regular twills with an uneven number 
of picks for their repeat require, if changed to reclining twills, the same number of picks. 




Diagram for illustrating the. construction of steep twills of 52°, 63° 
and reclining twills of 3S , 27°, 20 , and 15 grading. 



and 75 grading, 



62 

IV. Curved Twills. 
This sub-division of the " twills" is derived by a combination of "regular" 45° twills with 
63°, 70 or 75 , or similarly graded " steep-twills." One kind of these twills is run for a certain 
number of threads, after which the run, without forming an interruption, is changed to the other 



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630 twill. 

Fig. 2d 



63° twill. 

Fig. 299. 



system. The same twill which is used in 45° must also be used in the construction of the 
steeper twills. 

The following few designs will clearly explain the method of constructing curved twills. 



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Fig. 300. 

Fig. 298 illustrates the curved twill obtained from the 3 s twill. 8 warp-threads are 

designed in the regular 45 ° twill and 8 warp-threads in its 63 steep-twill = 16 warp-threads 
repeat. Drawing-in draft: 16-harness straight draw or 6-harness section draw. 



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Fig. 299 illustrates the curved twill obtained from the * i twill. 8 warp-threads are 

designed in the regular 45 twill and 8 warp-threads in its 63 steep-twill = 16 warp-threads 
repeat. Drawing-in draft: 16-harness straight draw or 8-harness section draw. 



aa 

Fig. 300 illustrates another curved twill obtained from the * - 4 twill. 

Warp-threads 1 to 8 call for the 45 ° regular twill. 
" 9 to 16 " " 63 steep " 

" 17 to 20 " " 45° regular " ■ 

" *2i to 24 " " 63 steep " 

" 25 to 32 " " 45 regular " 

33 to 40 " " 63 ° steep 

rlG. 302. ., tt tt n 1 << 

" 41 to 44 45 regular 

Repeat of design : 45 warp-threads, 8 picks. 
Drawing-in draft: 8 or 16- harness section draw. 

Drawing-in Draft for 13-Harness. 

isnraaBnnaDa«aGnnQnnDBnnnDDanDnoBBnnDDDnDDDDDnDDaDODn«ccnanroDnnnnnnpnnnDpnnn|inpnnna«pnnn 
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B 

B 
B 

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B 



Fig. 303. 
Fig. 301 represents a curved twill with 87 warp-threads for repeat, which is obtained from the 
regular ^—3 — 5__ — !__ 13-harness twill (shown in Fig. 302) according to draft represented in Fig. 
303, and thus will readily explain itself, as the drawing-in draft also clearly indicates the different 
grading of the twill. 

V. Skip-Twills. 

This sub-division of our regular or foundation twills embraces the weaves in which the twill 
line does not run continuously through the entire design. In their general appearance these rep- 
resent a combination of parts taken from a regular twill. 

They are designed as follows: After drafting successively 2, 3, 4 or more threads from a 
regular twill for the new weave, skip (or omit) I, 2, 3 or more threads; draft again 2, 3, 4 or 
more successive threads, then skip again, and continue in this manner to draft and skip until you 
get the repeat for the new weave. 

We can arrange this skipping in the direction of the warp, in the direction of the filling, or 
in both systems. 

1st. Skip- Tzui/ls in which the Skipping is arranged for the Warp. 

Fig. 304 represents the regular 4-harness twill ? -„. 

Fig. 305 illustrates the skip-draft reading as follows: Take two, miss one, four times over; or 
I, 2,4, 1, 3,4, 2, 3. 







nOBOBBriB 






B B BB 






BB B B 






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BB B B BB BB 

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11. 



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Fig. 304. Fig. 305. Fig. 306. Fig. 307. Fig. 308. Fig. 309. 

Fig. 306 represents the skip-twill derived by means of draft Fig. 305 from the i 4-harness 

twill shown in Fig. 304. Repeat: 8 warp-threads, 4 picks. 

Fig. 307 illustrates a second kind of skip-draft for 4-harness, reading as follows : Take four, 
miss one, four times over; or 1, 2, 3, 4, 2, 3, 4, I, 3, 4, 1, 2, 4, 1, 2, 3, which, if applied to the 
4-harness twill s shown in Fig. 304, will produce the design as represented in Fig. 308. 

Repeat: 16 warp-threads, 4 picks. 

Drawing-in draft: Either 16-harness straight draw, or for 4 or 8-harness with a section 
arrangement. 



64 



Fig. 309 is the 6-harness 3 - 3 twill. 

Fig. 310 represents a skip-draft reading as follows: Take six, skip two, three times over. 

This skip-draft, if applied to the 2 twill (Fig. 309) will produce the weave of a skip-twill, as 

shown in Fig. 311. 



bbb Bar a aa 



SB 
■ 


B 

■ B 

BBB 


BBB 

BBB a 

BBB a 


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Fig. 310. 



Fig. 311. 



Fig. 313 shows another variation of the skip-twill, derived from the common twill } 

(Fig. 309) by means of skip-draft illustrated in Fig. 312. The latter reads as follows: Take three, 
skip two, six times over, twill from left to right; take three, skip two, six times over, twill from 
right to left. 

Repeat: 36 warp-threads, 6 picks. 



p ■ bb ~bbbzbb" 

- zbzzz- 

SB E 



' B ■ BB BBB BB 



■B BBB IB 



BB BBC BB 



BB HI in 



- ,_.__., _ _ . -—,-—, — — -, 

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; 1, 1. 1 , .: 1 , : 1 , . 1 . j 1. ; ,. :. i i, . « i . 1 ' ' j i 

z ' "_ I .1 ii .. zz .1 c :' 1: 1 '-z z »_;. 1 ■ • c 

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Fig. 312. 



bbb bb b b ibb ■ bb ibbb ■■ ■'_ 
bb bbb bb. b ._'■ bb bbb ■■ ■ i ■ 
ib :■■ bbb bb ■ bbb bb ■ z_.bzzbbc; 

Fig- 313- 
For harness-chain use the reeular 



For drawing-in draft use skip-draw shown in Fig. 312. 
twill shown in Fig. 309. 

In Fig. 314 we illustrate a skip-twill derived from the regular twill - 3 (7-harness) by 

means of skip-draft shown in Fig. 315. Take two, miss two, seven times over, forms the repeat 
of this skip- draft. 

Repeat of weave: 14 warp-threads, 7 picks. 



I. SB! B B BB 

■ B BB BB 

B . BB BB I B I 

■ B BB ■ B "J 

BB . B a BB Ii 

B B BB BB 

BB BB B B 

BB B ■:. BB 

B ■ BB BB 

IB .1 bb in a. : 



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Fig. 314. 



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J BDDQDDDDDDDSjDD 

Fig. 315- 



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I BB B .BBB.. B Z . BB I 
BBB B II . BBi BB B .1 
BB BB .1 B BBB B ~1 i 

1B.._ BBB. ...B BB.. -BB I 



Weave Fig. 316 is derived from the same regular twill as Fi<: 
drafting, as follows: Take three, miss two, seven times over. 
Repeat of weave: 21 warp-threads, 7 picks. 



Fig. 316. 
114, but has a different 



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1 ■■:: " 



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c. iz. ,. 1 : ,zz izzz z. . czz 



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Fig. 317. 



Fig. 31S. 



Fig. 317 represents a skip-twill derived from the 8-harness t-^ — ^ by means of skip-draw 
shown in Fig. 318. 

Repeat of weave: 32 warp-threads, 8 picks. 



65 

Fig. 319 illustrates the skip-twill derived from the 14-harness L_ — ^— g — L — 3 regular twill by 
the following drafting: Take three, miss six, fourteen times over. 

Repeat of weave: 42 warp-threads, 14 picks. 

Fig. 320 represents the skip-twill derived from the 18-harness — 5 — ^— 5 — — 5 — — 3 regular 
twill, derived by means of the following drafting: Take three, skip ten, eighteen times over. 

Repeat of weave: 54 warp-threads, 18 picks. 



b> ■■«::■■■ ■■ 



Fig. 319. Fig. 320. 

These few designs for skip-twills, with a regular exchanging of "take" and "miss," will 
readily establish the rule for finding the number of warp-threads required for one repeat, as 
follows : 

Multiply the number of harness the foundation (or regular) twill contains (this is also equal 
to the number of picks for the repeat of the skip-twill) by the number of warp-threads taken in 
rotation in the skip-draft before missing a certain number of threads; for example : — 
F . f number of harness \ .0 y / number of warp-threads taken 1 „ / repeat of warp- 

rig- 3 2 ° -y ; n foundation twill j \ in rotation in skip-draft J 3 d4 \ threads in s. t. 

" 319 " " 14 X " " 3=42 

" 317 " " 8X " " 4=32 

" 316 " " 7X " " 3=21 

" 314 " " 7X " " 2=14 

The next step for figuring skip-twills is that of arranging the skip-effects produced by 
the warp into two or more different sizes. In their general principle of construction these kinds of 
skip-twills are identical with the ones given before. Figs. 321 and 322 are designed as illustrations. 



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!■■■ ^ ^ ■■■ 


■■ a 




1 


■■■ as ■ ■■■ 


1 ■:■■:■ 


■ 


1 


■■ aa urn urn 




BB 


1 


1 ■:-:- ■■■ ■ 




BBB 




:a ■■■■ a 




BBBB a 




■ ■■■ aa 


b" 


■ ■a ■:■■.- 




■■ ■■ 1 


IB 


BB 




■■■ ■ aa ■■ 


IB 


■ aa 


1 


■■■■ a a ■■■ 


ib a 




1 


■■■ aa ■ ■■■ 


1 ■:••:■ 


B 


■ 


■■ aa ■■ ■■ 




BB 


1 


Li.G-.aa ■■■ a 




BBB 








.14 



Fig. 321. Fig. 322. 

Fig. 321 is derived from the regular ^ 6-harness twill. Arrangement of skip-draft is as 

follows: Take three, skip two, take one, skip two, four times over. 

Repeat: 12 warp-threads, 6 picks. 

Fig. 322 has for its foundation the regular 8-harness twill - A . Arrangement of skip-draft: 

Take four, skip three, take two, skip three, four times over. 

Repeat: 24 warp-threads, 8 picks. 

A further process in figuring skip-twill is found in arranging the skipping in the direction of 
the filling. After taking two, three or more picks in rotation from any of the "regular" 45 ° twills, 
miss one, two, three or more picks; then continue again to take an equal number as before, 
again miss a certain number of picks, and proceed in this manner until the repeat is obtained. 



66 



Figs. 323 and 324 are designed for illustrating this sub-division of skip-twills. 

Fig. 323 — repeat: 4-harness, 16 picks — is derived from the regular 4-hamess twill — 
the following manner : Take four, miss one, four times over. 

Fig. 324 — repeat : 8-harness, 24 picks — is derived from the regular 8-hamess twill 5_ 
as follows : Take three, miss four, eight times over. 

■■xwnnmaauuuaaanaum 
bee : ■■■ 

■ a ebb ■:• ■■■ : 
■■ •:• ■■■ ■ 

■ a ebb : . a ■■ 
. bb bbb a ■■■ 
■■■ a bbb a . 

■ a: ■■■ cj ■ 



: ■■ :::■■ 
be ■■ 



~: ■■ "■■ 



bee . .a 


BBB B ) 


■ BB B 


BBB. ,. IB _n 


■b . a a 


bb ■:■ B 


. bbb •:■ 


bbb a 


Llll - B 


BBB a i 


bbb ' ■:• 


bbb a.:: 


B BBB 


a . bbb.. : 


C. BBB. B 


_, bbb •:• 


BBB B 


BBB i 


CS! , -bbb 


ffl ' BBB 


h_. BBB 


a ; BBB 


L. BBB. a 


bbb : a 


::. a 'bbb 


::m bbb 


L a. .BBB 


53 BBB 


IHJ'JBBBJ. , 


BOLBBBJ'J 



Fig. 323. 



Fig. 324. 



The rule for finding the number of picks necessary for one repeat of design is: Multiply the 
number of harness in repeat by number of picks taken in rotation before skipping. The result 
will be the number of picks necessaiy for one repeat in design ; for example : — 

Fig. 323 — 4 (number of harness) X 4 (picks in rotation) = 16 picks in one repeat. 
" 324—8 " " X 3 " " = 24 " 



-■I EBB 'IT B ~ r '' ■ EBB B ■ JB 

bbb □ dd bbb a bb 

■:■•:■■:• •:• qhd bbb -j bbb 

,:••:•■:■ •:■■:■ noa •-■.:■■:■ .5 a bbb :i 

£".' -:-•:•■'.' dqd ^a -i-c-a bbb J 

E< asffl bbb >> •:■>:■.;■ bbb 1 

b b aaa. a b aaa 

a ' bb jaea a bb asa: 1 

bbb aaa a bbb ■:■•'■■:• •:■: 

bbb ,aaa iaa bbb >»;. cm 

! BBB BB BBB BBB BB BBB 

BBB B SBB BBB B BBB 1 

BBB B fl BBB B B 

BBB B BB BBB B BB 



BBB 

BB BBB 3 

B BBB 

Bfl 'BBB )■ 

bbb aaa •:• 



wj ' aas 

1 SEB. J 

3 BBB B 
BBB BB 



Fig. 325. Fig. 326. 

The next course in figuring skip-twills is that of combining warp and filling skip-effects in 
the same design. 

Figs. 325, 326 and 327 illustrate this sub-division of the skip-twills. 

Fig. 325 — repeat: 18 warp-threads, 18 picks — has for its foundation the 6-harness ?- g 

regular twill. Take six, miss two, three times over in one repeat for warp and filling directions. 



iODCTBOD 'li: BBBB BBB . ig 

B B BBB .'BBBB. BB 

BB B BB BBBB BBB 



-■-.IBBB-nnBHBBB '7 BBBGDLB 



BBB BBBB BBB 



BBI 


B 
IB B 


■ B 


BR 


BBI 


in 

a 


BB 


B 
BI 


BB 
1 


aai 


1 BB 
BB 
BB 

IB 


BB 
BB 

a a 
a 


BB 
BB 


B 


E 




B 


::i 


BB 
B 
C BI 


B 1 
B BI 

B 


in 

IB 

■ 


a 
a 


B 
B 
BI 


i 

IBB 


BBI 

BBI 

1 


IB B 
1 BB 

B 

■a : 


BB 
BB 
B 

a 


B 
BB 


B 

a ! 

BB 


B 
IB 

B 
B 


BB 

so 


BI 

a 

B 1 
BI 


1 

1 
IBB 

IBB 


BI 

an 


IB 

ib a 


BB 
BB 


B 


B 

b ;.;. 


B 

a 


B 


BI 
BI 


IBB 

■M 



Fig. 327. 



■ BB . BBB BB 

■ III BBB B 
B . BBB BBB , 

■BBB BBB B 
B BBB" BBB ' 
B BBB EBB 
B . BBB BBB ] 

■ B BBB BBB 

■ BB BBB 5 BB 



LB BOB B 
CBB _" BB BB ' 
C EBB B BBB 



BBB 
BB 
■ B 
.BEE 



Fig. 32S. 



Fig. 326 — repeat: 24 warp-threads, 24 picks, and Fi 
picks — are figured skip-twills of a more elaborate design. 

In Fig. 326 6 threads in rotation, warp and filling ways, are used before skipping, 
327 4 threads in rotation, warp and filling ways, are used before skipping 3 threads. 



327 — repeat: 24 warp-threads, 24 
In Fig. 



67 

Fig. 328 — repeat: 22 warp-threads, 22 picks — is designed to illustrate skip-effects irregularly- 
arranged, and is derived from the common 3 6-harness twill. Arrangement of drafting for 

this weave is: Take one, miss two, take seven, miss two, take one, miss two, take thirteen, miss two. 



VI. Combination Steep-Twills fof 63° grading). 

This sub-division of the twill weaves is produced by combining two regular twills (45 °) 
which either have the same number of warp-threads for their repeat, or two regular twills where 
one weave contains one-half, one-third or one-fourth the number of warp-threads in its repeat 
compared to the number of warp-threads found in the 
repeat of the other weave. In designing these com- 
bination twills the two weaves are combined, one 
pick of one twill to alternate with one pick of the 
second twill. Diagram Fig. 329 is designed to give 
a clear illustration of their method of construction. In 
the same 

A represents the regular 8-harness twill i — - — g-J — j— 2 . 

B " " •' » ■ .. 

C " the drafting so as to get 

D = the combination 63 steep-twill. 

Repeat : 8 harness and 16 picks. 

Arrangement of drafting : 





1 


1 


3 


1 5 


(> 7 


8 


8 












1 




7 
















6 












j 




5 














V 
















3 












\ 




2 
















1 

















8 


















1 


















6 








5 


















* 


















.1 


















Z 


















1. 


,,, 


... 















1. 2. 3. V. 5 6 7 



1. 2 3 Y 5 6 7 8 
329- 



1st pick of combination twill is 1st pick of regular twill B 



2nd 
3rd 
4th 
5 th 
6th 
7th 
8th 
9th 
10th 
nth 
1 2th 
13th 
14th 
15th 
1 6th 



1st 
2nd 
2nd 

3rd 
3rd 
4th 
4th 
5th 
5th 
6th 
6th 
7th 
7th 
8th 
8th 



Fig. 330. 



Fig. 331. 



Fig. 332. 



Fig. 333. 



■■ ■ 
:: :::: 

<■■ ■DC 

Fig. 334- 



Fig. 330 illustrates the regular (45 °) 7-harness twill - — s — - — .,. 

Fig. 331 represents the regular 7-harness twill known as 3. 

Fig. 332 clearly illustrates the combination of these two weaves (Figs. 330 and 331), or its 
"Combination Steep-Twill" oi 63 grading. 



68 

To simplify the combination each regular twill is shown by a different type and this style 
of type is retained in the combination twill. Repeat of combination twill, Fig. 332, is 7-harness 
and 14 picks. 

Fig. 333 illustrates the regular 45 twill, known as — ^ — !— 5, which, with weave Fig. 330 
(from the previous example), is used in constructing weave Fig. 334. Repeat of the latter : 
7-harness and 14 picks. 

MHHnHQQB 

■ ' ■ ■ 

□ aa " aa «■■■: ' • :a ! wz. r a 



7QQ _, ann:-3 aonajana ijb ■..:■■■■ 

a aa aa a Jaaa a ■ ■. *■■■ 

:::: a:::: . bh ■ ■ <■■■■ 

nnaggsH PSSSaSS b^jbbb. ^b 

BBHH .. HI 
■ UJ^IJlL 



;ar 


:n 














:: 










..;?= 






■ : 








;.: 








:: 






1: 
















::: 


1. aau. 


:: 


:; . 



Fig. 335. Fig- 336. Fig. 337. Fig. 338. 

Fig. 330 is shown combined again with a different weave, Fig. 335, in the 7-harness and 
14-picks combination twill-weave, Fig. 336. 

12-harness weave, Fig. 337, and 12-harness weave, Fig. 338, are illustrated as combined in its 
63 ° combination steep-twill by weave shown in Fig. 339. Repeat of the latter: 12-harness, 24 picks. 

Fig. 341 illustrates another 12-harness combination twill, 63 ° grading, obtained by combining 
weave, Fig. 337 = 12-harness regular twill — g — — -j — — 5 , and weave Fig. 340 = 12-harness 
regular twill - — 3 — - — r, — - — 2 — - — r Repeat for the combination twill-weave: 12-harness, 24 picks. 

Fig. 342 represents the combination steep-twill for 12 harness 24 picks repeat, as produced by 
combining the regular 12-harness twill shown in Fig. 337 (— s — - — l — —, J with itself, starting 
from two different points. 

The foregoing examples illustrating the construction of the sub-division of twills classified 
in general as " combination twills " indicate that an immense variety of different new weaves can 
be produced. 



'Bas'T'-Qamn -<: ' a - ' 'a ~a~a -ie~h~! _i ;:n::s 

■ ■■ BE '■ ■■■ ■ ■ ■ ■■■"] ■ ■ I M 

an aco in a a a a a aaaa a 



a aa aa '. n a a a a aaaa a 

■ ■ ■ una ■ ■ ■ ■■■ ■ :: ■ ..:■ .■■■ 

aa : aaa a a a a aaaa a a 

■ «h ■■■■ ■ ■ ■■■■ :t. ■ H BEBB 

: r aa aaa ; : a a c: a aaaa a a : 

■ ■ bsbh : 1 ■ ■ ■■■■ : a ■ ■■■■ 

aa aa:: i [ a a a a ; aaaa 'a a : J 



u b aaaa ■ ■ ■■■■ 

aa aa:: , l a a a a 

[■■:■... ■■■■ ; a a ■■■■ 

: aa a:::: isaDDHnDEDDHDH a a a a . aaaa a a 1 1 

a a aaaa : ) a ,. a a. ; a a aaaa. . . a a aaaa 

aa aaa a a a a t a a a a aaa a_a a 



aa a a aa 
a :■■•■ a 1 
a a a aaa 



:■■■■ o. a a :;:::::; : aaaa a ■ : «D»a Gi a 

a:;:: aa a a a a a a a □ a a aaaa i 

laaaaaaaaaaDD . laooaaDQHuaHq >■■■■ luiuu iBaaBDGDBDaag 

Fig. 339. Fig. 340. Fig. 341. Fig. 342. 

The principle of combining weaves in this manner, or the construction of new designs out 
of one weave, as shown by rules and examples, is of great value to every designer, as it enables 
him to produce a large variety of weaves. 

In addition to the combination steep-twills, constructed out of two twills and in regular 
order, we. can vary the order systematically as much as we choose; again, we may combine three 
four or five regular twills for one combination twill ; in fact, the great variety of new weaves we 
can construct is unlimited. 

VII. Corkscrew Twills. 

This sub-division of the "regular" (45 ) twills is derived from the latter by means of a 
" double draw." This procedure will, to a certain extent, reduce the texture of the warp for the 
face in the fabric, hence a greater number of those threads per inch, compared with the regular 
twill, are required. 



69 

A. Corkscrew Twills having; for their Foundation One of the Regular Twills. 
This sub-division of the corkscrew twills commences with 5-harness, after which they can 
be made on any number of harness desired. 

Figs. 343, 344, 345, 346 are designed to illustrate the method of operation for drafting the 

5-harness corkscrew twill from its foundation weave, the regular 5-harness twill known as it 

and which is represented in Fig. 343. 

son.™ Fig- 344 shows the double draw as required for drafting is." 

!!■ - from riff. ^d^. ■ ■ »a a :i 

■ ■ ■ uv £> JH^J ■ ■:; a aap 

Weave Fig. 345 shows 5-harness corkscrew (with 5 picks r"B £■"■ !a FlG - 345- 
F,G ' 343 ' in its repeat). 

Drawing-in draft for practical work, will call for a 5- 
harness " straight draw," as illustrated in Fig. 346. The pres- ' i FlG - 34& 

J ~ n ^ ent system of treating corkscrew twills will always be mort 
advantageous on an uneven number of harnesses, as only such 
a number will allow an equal breaking off for the two twill-effects as visible on the face of 
the fabric. 



■ 
■ 
■ 

a 

■ a 



■ 


■ 


■ :: c: 








i| 
















!j 















■ ■ 


■a 










a "■ 


■ 
■ 










la a 


a " 






a ■ 


■ 



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■■■■ I 
■■■■ J 
■■■■ 
■■■ ■ 
■ a ■■ 
> ■■■ 





a a ::■ 


■ ■ ■:: 


































a a ::o 


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. 


■ ■ ■:: 

■ ■:: a a 
■a a a a 


a ::■ 

::m ■ 
■ ■ ■ . 

14 



Fig. 347. Fig. 34S. Fig. 349. Fig. 350. 

Fig. 347 shows the regular 6-harness j twill. By means of double drafting, 1-4, 2-5, 

3-6, 4-1, 5—2, 6-3, we derive Fig. 348, the 12-harness corkscrew. Drawing-in: "Straight draw," 
1 2-harness. 

Fig. 349 illustrates the 7-harness ^ twill. By double drafting (1-5, 2-6, 3-7, 4-1, 5-2, 

6-3, 7-4) we derive weave Fig. 350, the 7-harness corkscrew. Drawing-in: "Straight draw," 
for 7-harness. 



>- ::■ ■ ■ ■ ■:; 

;:■ ■■■■:: a 

::::■■■■ «a a a 

as ■■■■:: a a a 

■■■■■aaaaa 



■ ■:: 



■ ■:: 



■■■■l 




! ■■■■■ : 




■■■■ ■ 


■■■ ■■ 


■■ ■■■ 


■ ■■■■ 



::■■■■ 
::::■■■■■ 
a» ■ ■ ■ ■:: 

■ ■ ■ ■ aa a 

■ ■■■:: 



a 

a 

a 

__ a 

■ 



■■ ■■■ 



'■a a a ::«::■ ■ ■ UDOC'llin ■.: a a a :;■ m m ■ 

Fig. 351. Fig. 352. Fig. 353. Fig. 354. 

Fig. 351 represents the S-harness - r twill, and Fig. 352 illustrates the latter arranged for 

the corkscrew weave, which is derived by means of double drafting the regular twill. (1, 6, 2, 
7, 3, 8, 4, 1, 5, 2,6, 3, 7, 4, 8, 5.) Drawing-in: Straight draw 16- 
harness or double draw on 8-harness only. 

Fig. 353 illustrates the 9-harness twill, known as j. 

Fig. 354 represents the corresponding corkscrew, derived from the 
former by means of double draw (1, 6, 2, 7, etc.). In corkscrew weaves 
for a high number of harness in their repeat, as 11, 13, 15, etc., the inter- 
lacing of the warp and filling is very loose ; so the fabric may get too 
spongy in handling. To remedy this, without changing the face of the 
fabric, the floating of the warp upon the back of the fabric must be 
reduced, which is accomplished by adding one or more places of inter- Fig. 355. 

lacing for the float. For example, Fig. 355, represents the n-harness corkscrew weave, which 



. 




:■ ■ ■: 












::■ ■ ■,:■ 






:■ ■ 


a::a ■ ■: 


::■; 


: ;: 


■ ■ 

■ ::■ 
:■ ■ 






■ . 


■:; 


:; c:o:3 :; : 


:■ ■ ■: 


:■ 


















:■:: 








::■ 


■ ■::■ ■ 






















i::a 


■ ■:: 






:■ ■ 


■:: ■: 










:■ ■ ■: 


:■ 



















70 



should require the n -harness 



twill, but where is found in the present example a change 



of the 5 down in rotation, to 2 down, i up, 2 down. 

Thus the actual foundation for the present weave is the regular 1 1 -harness 6 ., ' — 5 twill. 

"B. Corkscrew Weaves Derived by Combining Two Regular Twills. 

This sub-division of corkscrews has for its object the forming of different sized twill lines upon 
the face of the fabric, which is obtained by combining two different twills of an equal repeat. In con- 
structing the corkscrew use alternately one warp-thread from one twill, one warp-thread from the 
other twill, until all the harnesses are taken up. For example, Fig. 356, a 12-harness corkscrew- 
weave, which is designed from the 6-harness twill - 2 (see Fig. 357) and the 6-harness twill 

3 3 (see Fig. 358). 

Drawing-in draft : 12-harness " straight draw." 

Repeat : 1 2 harness and 6 picks. 



::■ ■ ■ ■:: 

::■ ■ ■ aa :: 
a a a a: 

■ ■ aa aa 

■ aa :: bb a i 
aa a aa a a : 

aa a a aa 
aa a a aa a 
a a a a:: a a 
a a ■:: a aa , 
a aa a aa a ; 
iaa aa a.a : 

Fig. 356. 



~a a : 
a a 

l a' a 


a a a a:, 
a a ■ Bi ia 
a a a : a a 


a a 
a a a 


a a .a aria 
a_^ □ a BOO 


a a 

■ _"". a : 

■ a a : 

a a 


a -h "a" ad 
a a a a 
■ a a a ] 
a a a ■ a 


a j a 


■ a a :: a 


a a 
a a a 


a a a b'je 
a a 3 a 3 


a a a 


h~e" a . an 


a a 


a a a iaa 
□ ... a nam :: 



Fig. 357. 



Fig. 35 



Fig. 359. 



SH.-' BBBB 



Fig. 360. 



'bbb'- " ■; 
aa "a 
daoncuBB 

aaa 

1 aaa? 

aaa/: 

aaa :::~ 



Fig. 361. 



In examining the corkscrew weave we find its 

1st warp-thread the same as the 1st warp-thread in Fig. 



2nd " " " 1st 

3rd " " " 2nd 

4th " " " 2nd 

5th " " " 3rd 

6th " " " 3 rd 

7th " " " 4th 

8th " " " 4th 

9th " " " 5th 

10th " " " 5 th 

nth " " " 6th 

1 2th " " " 6th 
The number of harness required for the corkscrew weave will always equal the combined 
number of harness required for the regular twills. 



357 
358 
357 
358 
357 
358 
357 
358 
357 
358 
357 
358 



nanaaaaB a "aa a BBaaaDBB 




aa a naa a aa a 




bbbe a aa a bbb a aa a a 




aa a as a bbb b bb b bbb 




b bb b bbb b e:: ::li:;d:; 




BB B BBB B BB B BBBBB B 




B B BBB B BB BBBBB BIG 




B BBB B BB BBBBB IB BB i 




BBB B BB B BBBBB B BB B i 




a a bb ■:: aoa.aa a. a a bb 




a bb a ::d::d:; ::□ a aaa 1 




aa anaua :: aa a "aaa a -. 




aaaaa a aa a bbb b bb 


120a«BDDB» 


; BBBBB B BB B BBB B BB B 


BB BBBI 


aaaa a bb a bbb b bb b b 


BB BBBB 


■a a aa a bbb b bb a bbb 


B BBBBBI 


a bb a aaa a a:: aa. 


' ■■■■■■ 



B B B BB B B B B ""■: i 

a aa a a a a ■ . 1 1 

a a a a aa a a a a a 

a a a bb b a a a a v :B'.] 

a a bb b b a a a :: ..an 

a aa b a ■ b a a a . 

aa a ■ a a a - a :: a a : 



1 aa a aa 



:n:.ua 
a ac 



■ar:BC.aaaaaz ! B aa 
Fig. 362. 



a a a a aa 
: a a a ~aa a 
a a aa a a 
a aa aaa 
bb a a a a 
b a b a a a 

■ BBBB 

b a a a 
bbb a 

a a ;-_ a a 

B! 1. BBB 



■ a 

n 

' as'.i 
a a" 
a a 

a a aa - 
a aa B 
aa a m 

eaa 

a a ~ 

a a 



a a 



a a 

_ a b 
s a 



Fig. 363. 



Fig. 364. 



Fig. 365. 



In Fig. 359 we illustrate a 1 6-harness corkscrew, composed out of the regular twill j 

(Fig. 360) and 3 g (Fig. 361). 

Drawing-indraft: 16 harness " straight draw." Repeat: 16 harness and 8 picks. 



71 

In Fig. 362, we illustrate a 24-harness corkscrew obtained from the regular twill —. ^ — ?— ^, 
shown in Fig. 363, and — ^ — — j, shown in Fig. 364. 

Drawing-in draft: 24 harness " straight draw." Repeat: 24 harness and 12 picks. 

This corkscrew weave will also illustrate the arranging of a loose to a closer interlacing. 

For example : Suppose we constructed a corkscrew of the two regular twills fi s and - - s , 

and found the fabric to be perfect as to size of twill lines upon its face, yet too spongy in 
structure. In this instance, the weave Fig. 362 would readily dispense with the obstacle without 
changing the appearance of its face. 

The next step for figuring in corkscrews is the production of three different-sized twill 
lines, as in weave Fig. 365, which shows one twill of 6 picks, a second twill of 5 picks and a 
third twill of 3 picks connected uninterruptedly with each other. 

C. Figuring with the Filling upon the Face of Corkscreiv Weaves. 

Any of the different corkscrew weaves illustrated and explained in their construction 
under sub-divisions A and B (also any other corkscrew derived from the principles given) can be 
arranged for the third sub-division of corkscrews. As mentioned, the object is to form 
figures of different size, design and combination upon the face of a corkscrew weave by floating 
the filling, which otherwise rests imbedded between the warp-threads that form either face or 
back of the fabric, at certain spaces, and this in regular distances after a given arrangement. 
These spots, obtained upon the face of any corkscrew, will appear distinctly in piece-dyed fabrics 
if a single yarn for filling is used and a double 01 twist for warp; again, by using lustre yarn for 
warp and common for filling. 

In fancy corkscrews, where we use a different colored yarn for warp and filling, these spots 
(floating the filling upon the face of the fabric) will readily be visible. Silk filling may also be in- 
troduced, at certain of these floating picks, which will greatly assist 
in producing fancy effects. 

To give a clearer understanding of the nature of this floating 
Figs. 366 and 367 are arranged. 

Fig. 366 has for its foundation the 7-harness corkscrew shown 

before in Fig. 350. We illustrate the new weave by three different 

characters of types: 

■ for raisers ] c , 

)■ from common corkscrew. 
□ for sinkers J 

b for sinker for floating the filling upon the face of the fabric. 

Repeat: 14 warp-threads, 14 picks. Fig'W 

Motive for arranging spots: "■. 

»■■■■■■■■■■ ■■-■■■ ■ ■ ■ ■■ Fig. 367 illustrates the forming of filling spots upon the 

■■ S ■■" S ■ !■"■ ■ S ■■" ■ S regular 9-harness corkscrew (see fig 354). 

■ !■"■ ■ ■ ■■"■ S ■ !■" S S ■■"■ Motive for arranging these spots is the 4-harness 



1 ■ ■ 


■■ ■ 


■ 


■ 


■ 


■ ■ 


■ 


:■ ■■! 


















































■ ■ 

■ ■■ 


J ■ 
1 ■ > 


■ I 

■■ 


IB ■ 

■ ■ 


■ 
■ ■ 


■ 


■ 


■ ■■ 
mu:m 


















































1 ■ ■ 


■■ ■ 


■ 


■ 


■ 


■ ■ 


■ 


u 


















































































■■ ■ 

















































































































































■ ■ ■ 



■■■■■■■ 
■■■■■■■ 



■ ■■" S S ■■"■ broken-twill ■ . 

■■■■■■■■■■ ooaa 

■"■ ■ ■_■■"■ ■ ■_■ ■ for raisers 1 f , 

S S ■■ 5 S ■ ■■ ■ 1 from common corkscrew. 

■ ■■■■■■■■■; d for sinkers I 

■■ ■■■■■■ ■ lul aim\.<_i3 j 

■ 5 B "j"s J " "5 S b for sinkers for floating the filling upon the face of the 

■■■■■■■ ■ ■ c , . 

■ b ■ a ■■■■■■ fabric 

Repeat: 36 warp-threads, 36 picks. 
Drawing-in draft will reduce the 36 warp-threads upon 
15-harness as follows: I, 2, 3, 4, 5, 6, 7, 8, 9, 1, 2, 3,10,11, 



■ :■■-)■":■-■ " 



'- E :.=:": : ; 6, 7 , s, 9 , i, 2, 3 , 12, 13, 6. 7 , 8, 9 , i, 2, 3 , 14, 15, 6, 



'■■ urn ■■■■■■■■ ■■■■■■ ■ ■ 

Fig. 367. 7. 8, 9. 



D. Curved Corkscrew Twills. 

This sub-division of the corkscrew weaves is derived from the regular twills by drafting 
in both directions, according to the same rules given in constructing the corkscrew under sub-divis- 
ions A and B. After starting to draft from left to right for a certain number of threads, reverse 
the direction of drafting until the starting point is reached. 

a a aa iBjaa a 'a a~a^: 

- -a a a aa _ 

a a a a aa 



aa a ■ ■ aa 



aa B B B a:; a 
... _■: a a .a aa a in a a 

oa a a ana a a aaa 



d aa a a a a ::■ c 
oa a a aaa a a im.. .. 
laajaosacajaaoana 7 :-: a aa a i:: a ,a a :a aa a aa a a .nnnnooarannDnaonanaBDOOnaaDaaDaQnQoaa 

a a an ■ ■ ■ aa a a aa a . m a aa a a a a a a a :: 

a a aaa ,b_d b b a aa ,a« a a a a a aa a a ._ a 

B a a a a aa .aa a a a a a aa .aa ■ ■ i . .u. ■ a a a 

la a i ■ a aa a a aa a a b aa a a aa a u_u a a a a a i . a ;_v_i . ] 

a a ; ■ -aa a a a aa a aa a a a aa . i a a. a a . ■ ■ 
ibg" : tddaDHOaaaaq '»a. .a. .a aaa a a aaa a a aaa a^a a '■_.. _ .a. a ... a a ... .: 



Fig. 36S. Fig. 369. Fig. 370. 

For example : Take the 7-harness regular twill - 5, from which commence to draft as 

follows : 1, 5, 2, 6, 3, 7, 4, 1,5, 1, 4, 7, 3, 6, 2, 5, as represented in double draw Fig. 368. 

Fig. 369 illustrates the " curved " (wavy) corkscrew derived by means of this double 

draft from the 7-harness (- 3) twill. Repeat: 16 warp-threads, 7 picks. Drawing-in draft: 

16-harness " straight" draw and one repeat of corkscrew weave from Fig. 369 for harness chain; 
or 7-harness double draw, Fig. 368, and " regular " twill j for harness chain. 



as a aaa a a ■ a 1 •:; a ::: "m a 1 "fl a a a a a H B aa' a 'a a 
aa aaa aaaa aaaa aaa aa a :a a a aa a a a aaaa anas a a a a 
.aa s a h b aa a a a a aa a a ■ a aa .aa a ;a a a da an aaaa .aa 
bob ■"aaaa a a a a .a a :»:» a .a a a c .a: a aaaa a a a a a aaaa □ a a 
n B a aa aaa a a aa a a a a. :bjbe: :a a c: aa a a 1 

b aaaa a a a aa aaa aa a a a aaaa a nana a a a aa a a a aa 
aa a a a a aa a a a a a aa a a a a aaa a a a a aa a a b d a aa a a a a a 
a a a aa a a a a n a a b h aa 1a ia 1 o a a a a o a aa a a a 

a a aa aaa aaaa aaaa a a. a aa aa a a a .aaaa aaaa a a a u 
::b a a a a aa a a a a aa e a a a aa aa a a a a aa a aa a a a a aa 
a m b a aaaa a a a a a a aaaa a a a a a a a aaaa a a a a a a aaaa aaa: 
ebb aa a a a a aaa a a a a an a a a a a r ;□ a a : 

u aaoa a a aa a a a aa a a aaaa □ aaaa a a a aa a is a aa a a a .aaaa ; 



Fig. 371. 

If the twill lines upon the face of the fabric are not required so steep, draft every one 
or every second, third, or fourth, etc., warp-thread for each twill twice or three times, or oftener, 
upon the same harness. Figs. 370, 371, 372, 373 are illustrations of this kind. 

Fig. 370 illustrates a double-draw, which has for its principle of construction, 2 warp-threads 
upon 1 harness, and 1 warp-thread upon the next. 

On points where the twill changes its direction, judgment must be used so as to prevent 
the last pick floating too far. 

Fig. 371 illustrates the curved corkscrew as 
,, a u a „ ri ■_ a w _. ,„ j derived from the regular ± 7-harness twill by 

Li'il ; '. ia ...,:a ' :a"i" .a :".:a., 'j.'.i.. ! a j^i.i.ij ia..]jja r 1 • ■ 1 n t— -n i. «c 

■ - ''• a b 1 nic'MK 01 clra\\'m""-in i Ira it ri"" ^70 Kcocat' V) 

iBQDaaaaaaaDjj^DjB.jBJBja_]jajajjjjjjBJ«Dr 

Fig. 372. 



warp-threads, 7 picks. For drawing-in draft use Fig. 

370 ; for harness chain the regular j twill. 

A double-draw in which the point of reversing the twill is more balanced, to give a 
more wavy appearance when applied to a fabric, is shown in Fig. 372. The point harness of 
the one twill shown in ■ type is drawn in four times in rotation, whereas its corresponding point 

uoq^q-si^i i:ia"3 a^anaanma "aa 'a^a~a ~a a a ;a aa '■ a aa:a a~a □■ ■ a aa a aia . ,aia 
1 a aa a a aaa a a a a a iaa a aa a a a a a as ffl Q Ea 11 a a a a aa a a aa a" a a a 
ran a aaa a a a a a a a ae a a na a a a aa a a oa a a a a a a a an a a aa a a a 
aaa aa a' a aa nan Ha a a aa a a aaa aaa a a aa a a aa aaa aa a a aa a a aaa aa 
b a :aa :a a ao aaaa aa .a a aa a a a a a a aa a a aa aaaa aa a as a a a b . 



za a a aa a a aaa aaa a a oa a a ai 

a a aa a a a:: a a a aa a a aa a a 
1. a aa a a aa a c: a a a ao a a na c: a :: a a aa a a aa a a a a a 
' aa a a aa a a a a a a a aa a a aa .a a. a aa a a aa a a a a .. 
a B a aa a a aa Baa aa a a aa a a aaa Ban a a aa a. am aaa aa a a aa a a aaa aa 



■ a aa aa 



1 aaa aaaa ..aaaa .a.ja^ 
Fig. 373. 



for the other twill is arranged to correspond as nearly as possible, without producing any place 
for filling-floats on rear of fabric. 



73 

Fig. 373 illustrates the corkscrew weave as derived from the /-harness twill - — j when 
using double draw given under Fig. 372. Repeat: 40 warp-threads 7 picks. 

Double draw : requiring 7-harness for the 40 warp-threads in repeat of weave. 

The next step in figuring in this division of corkscrew weaves is the use of filling-float 
effects as explained under sub-division C. 



















: bb a a ■ 


BB a B BB B 


a b 1 


BBBB BB BBB BB 


a bb a a bb a 










■BBBBaBBBBB BBB BB 


a a a aa 








■ BBaaaBBBBBBBB, 


B a aa b 








IB BBB BB BBB BB BBBB 




















a a b a a aa a a bb Baa i 


i- a a a 










a a aa 








BBB BBB B B BB B 


in a 

a a a a a 


bb b a a b a aa a 
■ 1 1 1 ■ ■ ■ 1 ii 


a a ■ 

B B 1 


B B B B BB B B BB 
BBB BBB fl a B BB a 


B BB a a BB B 
BBBBBBBBB B BBB BB 


a a aa a 


a a bb bbb aa a a 1 


aa ■ 


aaaBBBaaaBia aaa aa i a a aa a i 


aa a a 


aa a B B B B a BB 


a a 


BB BBB BB B B BB B 


BBBB BB BBB BBBBBi 
BBBBBBB BBBB BBB 1 
BBBBBB. BBBB B B 


o; aaa 








1 a aa a a 

aa bbb 

a a a a a 


a bb a b a aa b a 
aa a a a a b bb a 

BBBBBBBB BB 


B BB 

b a ■ 

a a 1 


BBBBBBBB BB BBB BBB BB BBBBBBB 
BBBBB aBBBBBB BBB BBBBBBB BBBB 

BaaaaBaBBBBBBBBaaaBBBBaaaa 

BBB BBB BBB BB BBBBBBB BB BBB BBB BB 


a a bb a 


a m BB BBB BB B a 1 


BB I 


BBaBBaBBBBBBBBBBBBBBBaBB'] 
BBBBBBBBBBBB BBB BB B B B BB B B B ■ 1 











Fig. 374. 

Corkscrew weave Fig. 374, is designed to clearly illustrate this point. Repeat : 40 warp- 
threads and o. picks. 

The regular twill, which is used for the construction of the curved corkscrew, is the - 4 

9-harness twill, a for raisers, a for sinkers, from curved corkscrew; s for sinkers for floating the 
filling upon the face of the fabric. 

E. Corkscrew Weaves Composed of Warp and Filling Twills. 

If all the different divisions of corkscrew weaves, thus far explained, are used in practical 
work, the warp will form the face and back of the fabric, whereas the filling will rest imbedded 



saODOaBBBB 



a 
:: b 

1 :: a 



[~H l 

■ 


aaaa 

a a a;: 


; ::> :: 








■ ■ a 




1 ai 1 

■ a 




■ ■ 


a a:: 


■ 
a a 


aaaa 
■ a ■:: 
a a:; 


ac: ti 
: ;;■ :: 

: til 1 


■ ■ a 




1 Bl 1 













Fig. 375. Fig. 376. Fig. 377. 

between the warp (except in the few floating spots used in Figs. 374, 367, 366). In the present 
division of corkscrews the filling is used to show a third line besides the two lines produced by 
the warp. 

To give a thorough understanding Figs. 375, 376, 377, 378, 379 and 380 have been designed. 



■■■■, 
Fig. 378. 



:: 

. :: 

. IS 




a 

B 

a 




B 


1 


B 


a 1 . 


1 1 a 




a 








IB 


a 
:: 


' 



Fig. 379. 



ia a a a 

BBB 


d a a a aa 

a a □ aa 

a aa a a> a 


a b a b aa 




a iaa a a a a 


a 
a a 


1 a : 
bi a ] 
a 1 ai : 
a B 


■ u 


aaa 








: a a 
















a a aa a a a a 
a aa a a 
iaa a a a a 




' BI 1 

■ ai 1 


B B 


■ BI 1 



Fig. 380. 



Fig. 375 represents the 9-harness twill known as ,. Fig. 376 the drafting by which weave 

Fig. 377 is produced Repeat for the latter: 18 warp-threads and 9 picks. For drawing-in use 



74 

either 18-harness straight draw, and for harness chain one repeat of corkscrew; or, 9-harness 

double draw (Fig. 376), and for harness chain the 4 - 6 twill (Fig. 375). 

Fig. 378 represents the 12-harness 5 =. twill. Fig. 379 the drafting by which corkscrew 

weave Fig. 380 is derived. Repeat for the latter: 24 warp-threads and 12 picks. For drawing- 

in use either 12-harness double draw (Fig. 379), and for harness chain the i ? twill (Fig. 378); 

or, 24-harness straight draw, and for harness chain one repeat of corkscrew weave, 24-harness 
and 12 picks (Fig. 380). 



F. Corkscrew Weaves Figured by the Warp. 

In this division of corkscrew weaves, figures of any size or form are produced by arranging 
a corresponding floating of alternate warp-threads. Every uneven numbered warp-thread (1,3, 

■ "■■■:■ Ba a "□ a a aa ■ ■ ■ ■ aa ia 'a~a_~.a a 



ra :: a ~n a a a a a a a a a a a V. 
a a a a a :: a a :: :■: a a a a a a 
a .:: an □:; a a :: :: :: ::□ □:: a a :: 



n a a ai 



an ■ ■ ■ ■ 
■ m o ■ ■ n 



■ Iaa_.a a a a a_.an aa.a a a 



Fig. 381. 



a a a a ai 



jaa ■ ■ ■ ■ 



■ ■ :■;■; n a.. :;■: a 
B.HiLi. ■ ■::■ ■:: s a a 
a a a aa a a a a aa a a 
c: a a a aa n d u l: l. 
a a a .a a aa a a a a aa 
aa a a a a aa a a a 
■ a a a aa a 
■a m m aa a a a aa a i 
» .a oa a aa a a I 

.a aa a a a a aa ■ ■ ■ i 
. a aa a a. .a a i 

aa anas aa a a a a 
- - aa :; a a a 



■"."□ aa a a .a .a aa a .a a c 

a as a a a a aa a a ; 

aa a a ■ a aa a : 

aa a a a a aa : 

a a a a a aa 


] a a : 
'a^a^a' 


a 


a a a a: 

b b b a aa a 

:b a a a a aa 

: a .a a 


a a n aa aa a a 


b a a: 


: : 


: a a a aa a I 



■ a iaa a a 
a aa 'a :a.;a 
iaa .a.. a a .a 



Fig. 382. 



<•■■> a aa a a a 

aa a a a a 

a a aa a a :: 

■ aa a a a a 

aa a a a a a 

aa a a b 



aa aa n n a a a a 

■- ■ a jr — 
[) a 



aa .: 'aa a a a a 



o:i a 

a a a 

a aa 

an b 

b aa 

aa " 



a a 
a a 
a a 



381. 


Repeat : 


16 warp-threads 


and 


382 


Repeat : 


22 warp-threads 


and 


383- 


Repeat : 


20 warp-threads 


and 



55 



a a a a a a 



5, 7, etc.,) is used for producing the figure, while the ground is produced by the even numbered 
warp-threads. Figs. 381 to 383 are designs illustrating this method of figuring. 

Fig 
picks. 

Fig 
picks. 

Fig 
picks. 

Before closing the lecture on the corkscrew weaves 
we shall briefly refer to division G of the latter, or 
corkscrew weaves in which the face and back of the fabric 
is produced by the filling; the warp resting between 
the filling. 

This arrangement for corkscrews is very little used, 
on account of the high number of picks required to 
produce a close face in the fabric. 

In Fig. 384 we give an illustration 
of the 7-harness filling corkscrew. This 
weave readily explains itself as the mate 
to the warp corkscrew illustrated in 
Fig. 350, page 69, the raisers being 
exchanged for sinkers and vice versa. 
Repeat : 7 harness and 7 picks. 
In the same manner any design given under headings A and B of the sub-divisions of 
corkscrews can be used for filling face by proceeding with it the same as with Fig. 384 
in Fig. 350. 



a aa a aa 

aa a aa a 

aa a a 

aa a ■ a 

a a a a a 
a a a ~n a 
a a b a b 
a a a ja aa 
; □ s a a a 
r:a a a a e 
i a a a aa 



a .a aa a a 



la -.- — ; B 
aaa 

■ BB 



HI ] 

i B 



aaa:: a .aa • 
Fig. 383. 



ILUUJill^JJ j 

Fig. 384. 



75 

































■ 


■ ■ 
■■ ■ 


■ 
■ 


■ ■ ■ 
■■ ■ J 


■ ■ 
■ 


■ ■ 
■ ■■ 


■ 
■ 


■ ■ ■ 
■ ■■ 























VIII. Entwining Twills. 

This class of the twill weaves . (which might also be considered another kind of "broken 
twills") is derived from the regular twill weaves by running one, two, three or more pieces of 
twills parallel to each other in one direction (45 ° grading), and towards these twill lines, at right 
angles, a second system of one, two, three or more pieces of twill lines (generally of equal size and 
construction as the first). This arrangement of twills meeting each other at right angles, the one 
twill continuing where the other stops, and alternately changing between both systems, will give 
the fabric the appearance of entwining twill lines or set of twill lines ; hence the name. 

The following designs, Figs. 385 to 396 readily explain themselves as such twill weaves, 
and also illustrate the manner of constructing similar original weaves. 

Fig. 385 repeat: 8 warp-threads and 8 picks. This design is constructed 
from the 4-harness ^ twill, and has two parallel lines of twills. 

Rule for Finding the Number of Harness Required for Entwining 
Twills: — The number of harness required (or warp-threads in one repeat) 
is ascertained by multiplying the repeat of the foundation twill by the 
number of pieces of twills used. 

In the present design this will result in the following multiplication : Fig. 385. 

4 X 2=8 

Repeat of foundation twill X pieces of twills used = number of harness required. . 

It will be advantageous for the student to construct additional designs of entwining twills 
out of the 4-harness 2 twill, using 3 pieces of twills — 12-harness ; 

4 " " = 16-harness; 

5 " " = 20-harness, etc., etc. 

The rule given for ascertaining the repeat of the warp-threads in the design will also apply to 
the repeat of the picks. 

Fig. 386 represents the entwining twill formed with the 6-harness - 3 twill and four pieces 

of twills. Thus 6 X 4 =: 24 warp-threads and picks for repeat. 

■■■ ■■■ ■■■ :■■ 
■■■ ■■ ■■■ ■■ ■■■ ■ 

IBB ■■■ ■■■ ■■■ J 1 ■■ 

IB BBB ■■■ ■■■ :J . ■■■ 

■■■ ■■ ■■ ■■■ ■■■■ 

■ ■■ ■■■ ■■■ ■ ■■■ 

■ ■■ ■■■ ■■■ ■■ ■■ 
■ ■■ ■■■ ■■ ■■ ■■■ ■ 

■ ■■ ■■■ ■■■ ■■■ 
II ■■■ ■■■ ■■■ ■ 

■ ■■ ■■ ■■■ ■■ ■■ 

■ ■■ ■■■ ■■■ ■ ■■■ 
■■■ ■■■ ■■■ ■■ ■■■■ 

■■■ ■■ ■■■ ■■■ ■■ ■■• 

IBB ■■■ ■■■ ■■■ . ■■ 

IB ■■■ ■■■ ■■■ ] ■ 

I ■■ ■■■ ■■■ ■■■ 

■■■ ■■■ ■■■ ■■ ■ 

■ ■■ ■■■ ■■■ ■ ■■ 
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IBS ■■■ ■■■ ■■■ ■■■■ 

IB ■■■ ■■■ ■■■ I ■■■ 

■■ ■■■ ■■■ ■■ ■■ 

■ ■■ ■■■ ■■■ ■ ■ 

■ ■■ ■■■ ■■■ ■■ 
■■■ ■■ ■■■ ■■ ■■■ i 

■ ■■ ■■■ ■■■ ■■■ ] L ■■ 
IB ■■■ ■■■ ■■■ BBI 

■■■ ■■ ■■ ■■■ ■■■■ 

BBB ■■■ ■■■ ■ ■■■ 

■ BB ■■■ ■■■ ■■ ■■ 
BBS ■■■ ■■ ■■ ■■■ IB C 

Fig. 3S6. Fig. 387. 

Fig. 387 illustrates the entwining twill produced with the 8-harness * 5 twill, having three 

pieces of twills for the construction. 8 X 3 = 24 warp-threads and picks in one repeat. 

In accordance with designs Figs. 386 and 387, and their methods of construction, the fol- 
lowing designs may readily be produced: 

3-6-harness twill \ X 2 pieces of twills =12 ( repeat of warp-threads 

for foundation weave J X 3 " = 18 I and picks. 

- 3 -8-harness twill \ X 2 " — 16 f repeat of warp-threads 

for foundation weave J X 4 " " =32 I and picks. 



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1 


IBBI 


1 


1 


■ BB 




BBBB 


a 


BBB B 


1 


IBB 


B 


1 

11 


■a 
■ 


] B 


BBBB BB 
BBB BBB 


BB B 
B . B 


B 1 
BB 1 


IB 

BBB 



16 



A sub-division of these entwining twills is produced by forming squares surrounded by 
parallel twill lines. The squares thus produced may be filled up by other twills, basket-weaves, 
rib-weaves, etc., or they may be left empty. In this manner designs Figs. 388 to 395 are formed. 



aaa aaa aaa aan 



aaa aaa aaa ■■■ : 



a 3 a . 


aa ja a 


■ 


aa aa 

. B II E 


BB II 

. ■ bb : 




aa . 


a bb 


;a 


11 ■ 

■■ ■■ 


a ai ■ 

IB BB. 


a 


I C Bl 

\. .aa. 1 
b a ' d 


03 BB ; 
1 saj ■■ 
aa. a . a a 


BB BB. 


aa . bb 




"n ■• a 


a as [ 




-ZBB E 


a 11 : 


:a 



.a ■■ ■ a ■■ ' 



Fig. 3S8. Fig. 3S9 

Fig. 388. Repeat: 8 warp-threads, 8 picks. In this design, which is constructed from the 
;1 j 8-harness twill, the squares produced by the twill lines is left empty. 

Fig. 389 — repeat: 8 warp-threads, 8 picks — is produced from the ^ 8-harness twill; the 

squares produced by the twill lines entwining each other at right angles, is filled out by the two 
centre warp-threads interlacing with the filling in the shape of a 4-harness twill. 



a : arajBBB^arzr 
z a._a.:. . bbbv ._ e 
a a a bib :: 

aa a bbb 111 :: 
aaa Has ■ bib 
aaa in a - ■■■ 
a aia.a a 



a aa bb aa 



■aEHnnBinnDi 



1 JD BOB 


-' J 




HBI 


a :",3 a 


III Mil 

hi :bbi 


1 


"a 


SIB 
BB 


an :_□ 

IBB " - 






11 HJ 







a. an a a zb: bbb a 

IBB a aZ"BBB . E 
BBB 9 a BIB B 
III III a BBB BBB 

m ::: aaa aaa bbb 
1 :: in in :: ,bii 

Fig. 390. 



■a aa aa : ei , 

aa aa ma 
aa aa a 



aa _ aa aa bb bb a 
a aa .aa:. bb : : aa aa aa 

Bl BB II BE BB BB 
IB ' BE .BB IB . II . II ] 

■■ : i si : ib .aa bb a 
a ■■ 'ii aa aa : bb bi 
aa aa : in aa aa ■■ ] 
1 aa be ia aa aa ■■ 

bi ■■ ia aa :_■■. .a 

a bb " bb bb 33.11 aa 

■■ ■■ ii ■■ :■■ ■■: 

ill BB ■■ ..BB II BB .. 



D~BB __ BIZBBZ _ a BE lir I 
BB BB KB .aa BB ._ BB J 

a ai aa aa a .a .aa a 
l_ . :bb ib aa aa bb bb 
: bb bb aa ■ ■ be 

aa bb a a aa ii ■■ 

BB BB II ■ ■_■■ 
BBB BB BI.;: BB BB . BB 

'" aa a bb bb..: ib. bb a a 
bb be ii bb aa 
a aa be bb a . a aa . 

. aa aa :•■ ■■ aa aa 
aa aa aa be aa a 

a . aa a . b be .bb aa a 



1 aa bh :: ...a 



BB a BB II 



I a BB BB 



1B.BB BB. BB [: B« BB 



Fig. 391. 



Fig. 392. 



Fig. 390 — repeat: 12 warp-threads, 12 picks — is produced from the § 12-harness twill; 

the squares in this weave being filled out by the motive 3— 5 — I — L_ _ twill. 

Fig- 39 1 — repeat: 16 warp-threads, 16 picks — is produced from the — 5 — ^ 16-harness twill. 
Fig. 392 — repeat: 16 warp-threads, 16 picks — is produced from the - — j — ?- Tl 16-harness twill. 



1. aa:: :■ 


B BB BB 


^ 


3 a a 


33 BI 


a a ia 


BB B B 


a a 


:: aa 


BB -. 


aa bb 


BB BB . 


aa 


33 a: 


BB .1 


[ .a bb 

BB B 


Bl a BB . 


BB 




: bb: a 


a aazuBB 


a 


a a a 


BB : BB 


[ .11 J BB 


a aa ■ 


a 


■ 13 1 


IB Bfl 


OB BB 


aa aa 


BB 


■a ii 


1 BB 


B BB 


a aa ..a a 


BB 


. II B 


bb a 


•1. : «B.j.:a 


a _aa r aa 


r B 


n bb 


bb aa 


a a 






BB . BB 


m aa 


bb aa 






Bl II 


1 aa . . 


L'BB .a 






1 fl 


ib a .3 


L bb a 




a 


B : BB 


aa aa 


■ ac a 


a ri aa^a 


aa 


I BB 


Bfl 3 


■■ •■ 


"aa "a a 


B 


he a 1 


IB BB 


! bi 1. a 


a aa ..:■■ 


a 


B 33 


Bfl BB 


a bb 


BB . a BE . 






bb a 


a:: bb 
1 a a ■■ 

r aa a 


BB ..jBI 
B BB a 
B BB BB 


BB 

B 




aa .: j 

: 3 bi 
_aa n ii 


aa" aa 
a aa 

1 . aa . a 


IB BB 

Bfl bb: a 

1 BB Z BB 




j-air 


:" 33 : . 
33 a 

33 SB 


a a bi 


BB u a 


a a 




111 


aa bb 


BB. BB 


Bl 




be.: j 


' a aa: : 


bb a Bl 


IB 




1 Bfl ■ 


□ BB ■ 


■ „. SQ-JI 


B 




IB IB 


BB BB 




BB 


IB "bi 


I Ii 


ia__aa 


,3_33J_B„a 


II 


■■ ■ 


L^BICEJ 



a" a 


■ a 


"iZBI" 




3C 


: 33 3 ' 


M-mura 


33 a 


a 


IB 


aa 


a: 


: 33 33 


. ib a 


3 BB 




BB B 






:_.33 rm a 


■ B EB 


L. BB 


a 


a bi 


1 






a 


a ■■ 


LH 


BB 


B 1 


IB 


33' 




BB 


B» ■ 


■ 1 B 


B _ 


BB 


■ B 




: aa "c 


IB 


BB fl 


fl BI 




3 BB 


a 


1 3: 




1 


3 :::: 


i: bb 


pi 3 


3 HE 


1 


Bfl 


3 IB 


a 


BB 3 




33 L 


IB 


BB 


■ B . 


BB 


33 a 


DC ■ , 






Bfl 


Bl 


1 BB . I 


in 


33 3 


B 33 






3 a 


a 1 


IB Bl 


a 


:: as 


. 33 






J 


BB 


■ I II 






33 ;: 








BB 


. 'II C 






33 a 








Bl 


1 ib ; 






33 








BB E 


ii ■■ 






B .33 






: a 


b : 


■ I Bl 


1 a 




IB 






BB 


a 


BB 1 


!■ 


33 3 


EI I 3 


a 


33 1 


IB 


BB 


~rBB 


■ fl 




□ .11 




a bi 


1 . 


BB 


a bb 


1 ■ 


H 33 


I BB 

BB B 

CBB. j 


a" 

B 


3 BB 
.BB . 
HB 1 


B 
BB 
IB 


- l} : 


: 33 Bl 

:^33 r ^ ■ 


1 ' 

IB 

■ fl 


BB "33 : 

■a ■ 
a bb 


3 E 
33 B 

a bb 


BB 

a 


Bfl 

Bfl 
■ fl.l 






1 II 1 


i S 


BIBB. 1 
BB X, 

II . 19 


l:_:bb 


a 


I Bl 

a j 1 


1 

IB 






■ 


■ :_:■■ 1 


L..BB. 






■ fl 


BE B 


■a a 


a .. 


BB 


BB 




]"33""l 


ifl 


BB I 


B . BB 




3 BB 


B 


fl 3; 


] 33 Bl 


r 




1" BB 




3 Bl 


1 


Bfl 


3. aa 


■ 


e :::; 


idMboq 


"- 


-33JJ 


IB 


BI. 


28 


IB 


-33 3 



Fig. 393. 



Fig. 394. 



Figs. 389, 390, 391, 392, as well as the following three weaves, Figs. 393, 394 and 395, show 
the twills interlacing each other thus ■, while the weave used for filling out the squares, produced 
by means of the latter, is shown thus n. 

Fig. 393, repeat: 24 warp-threads, 24 picks. In this design an additional entwining arrange- 
ment of twills is used for filling out the squares produced by the main entwining twill lines. 

Fig. 394, repeat: 23 warp-threads, 23 picks. In this design two kinds of basket-weaves are 



77 

used (alternately) for interlacing warp and filling in the places of squares produced by the main 
entwining twill lines. 

Fig. 395, repeat: 24 warp-threads, 24 picks. In this design a pointed twill is used for filling 
out the squares produced by the entwining twill lines. 

□GE ■■■■■■ :: aan ■■ 



■■■ ■■■ 



■■■ rnrnn 

■■ ■■■ ■■■ 
■■■ ■■■ ■■ 



■■ ■■■ 



■ ■■ ' 
■■ 


■■ ■■ ■■ ■ 

■ ■■ ■■ ■■■ .1 ■ 






■ ■■ 




















■ ■ ■■ 








■■ ■ ■■ ■■ 








■■ ■ 


■ ■ ■■ 


■ ■ ■■ 


■ ■■ 


■ ■■ ■■ ■■ 








■ ■■ 


■■ ■■ ■ ■■ 


























■■ ■■ 


■ ■■ ■■ ■■ ■ 

■ ■■ L ■■ . ■*■ 



Fig. 395- 



Fig. 396. 



Fig. 396 — repeat: 23 warp-threads, 24 picks — illustrates the novel combination of an entwin- 
ing twill and suggests the great variety of weaves which can be designed for this sub-division of 
the regular twills. 



IX. Twills Having Double Twill Effects. 

These twill weaves are obtained by connecting two, three, four or more parallel twill lines, 
in one repeat, with another twill line (main line) which runs in an opposite direction. 

Rule for Constructing these Weaves. 
Run your main twill at a grading of 45 ° in a direction from left to right over the entire- 
repeat of the weave (see ■ in weaves Figs. 397, 398, 399 and 400); next run the other twills at 
right angles to the first mentioned twill (see n in weaves 397 to 400) and stop so as to form a clear 
■rjKiQBgiigsDQBDB connecting spot (and without running both twills into each 

□l; ■■ n:: ■■ Otner . 

:: ■■ :: :: ■■ □_: 

■!"^„ :; B ■B"s„ a n Figs. 397 to 400 are weaves designed in this manner, 

" p □:: "■" □□ "■! and clearly illustrate this .sub-division of twill weaves. 

a % ■";; r , a 8 ■■"nj Fig. 397. Repeat: 8 warp-threads, 8 picks. "Main 

■!" Bh "■■■_ckJ ? twill" is = = 8-harness, "cross-bar twill or double 

Fig. 397. will effect " ? for 2 warp-threads. 



■■■ E 
■ ■ 


:x:„ 


:::: ■ 
:: ■■ 












:: ■■■■ 


:::: "::: 


"■ 


■■■■ j 
■■■ :: 


□ "c::; 


■■■ 


■■ . an 
u :: a 


:::: ■ 


■■■ 


:: "b'nH 


□ ■■■ 
3 ■■■■ 

■■■■ 
■■■■ . 


■ □_ 











Fig. 3c 



Fig- 398. Repeat: 16 warp-threads, 16 picks. " Main twill " *- 
bar twill or double twill effect" - 5 for 5 successive warp-threads. 



= 16-harness. " Cross- 



:;:::: :: — 
:::::: ■ 

■■ 1 

■■ a 






:::::: 



:::::: ■ 
:: ■■■ 
::::;: ■■■ 
■ioa ■■■cjh 
:i ■■»:□□ 
■■■ . :: 
■■■ :: 
■■ sn:: . 1 
■ D[x: 



<m i ■■ :::: ;;:; ■ 



:::::: 

:: : 



l: :::: 

:::: :: 

r.a 






:::::: a ■ 

aa:: . — 
:: :;:::: 

°m» s: 

□ a ■■ 
c::: ■■ 



■ ■ :::::: aa 

■ ■ :: 

■ ■ 

Fig. 401. 



Fig- 399- Repeat: 18 warp-threads, 18 picks 
bar twill or double twill effect - = 



Main twill 



1 8-harness. Cross 



78 

Fig. 400. Repeat: 16 warp-threads and 16 picks. 

The main twill in the present design is — ^ — ^-_ = 16-harness. The " crossbar twill," or 
double twill effect, is the 2 r L 4-harness twill. 

Twills of a different grading than 45 for the main twill line can also be used. For example, 
steep-twills of 63°, 70 or 75 ° grading. Again, the cross-bar twill may be changed, if required, 
to a like different grading. 

Fig. 401 illustrates a fancy twill of the present division constructed from the 63 ° steep- 
twill derived from the 4 % = 24-harness foundation-twill for the main twill, and the 3 

= 6 harness 45 ° twill for the double-twill effect. 



4 3 
1 2 

% i 



X. Twill Weaves Producing Checkerboard Effects. 

This sub-division of the twill weaves is obtained by combining any of our regular twills, 
warp for face, with the same twill weave, filling for face. 

a b Rule. — Divide the repeat (equal distance for warp and filling) into four even 

squares (see diagram Fig. 402), and insert the twill weave, warp for face, into 
every uneven numbered (1, 3,) square, and the twill weave, filling for face, into 
every even numbered (2, 4,) square. 

The direction of the twill in the warp effect must be opposite to the twill in 

the filling effect; hence if running the direction of the twill, in the present 

abed repeat of ex ample, for the warp for face effect from the right to the left, we must run the 

weave. direction of the twill in the effect having filling for face from the left to the right. 

This direction of running the twill is illustrated in the diagram Fig. 402 by the four arrows. 

Another point to be kept in mind when designing for this kind of weave is, that in places 

where the warp and filling effect meets, a clear cut must be produced; vice versa, change from 

sinker to raiser or raiser to sinker. 

For illustrating the foregoing rule weaves Figs. 403 to 41 1 have been constructed. 

Design Fig. 403 illustrates the checkerboard effect obtained from combining a double 

repeat of the 3-harness twill 1 with a double repeat of its corresponding filling effect 1 g. 

Repeat: 12 warp-threads, 12 picks. 

Design Fig. 404 is constructed from the 4-harness - j and 1 g twill. Each effect used 

for four successive warp-threads and picks equals one repeat of the weave in the warp and filling 
effect. Complete repeat of the design calls for 8 warp-threads and 8 picks. 



1-. : 3 : ;□:.:■■:■ 



Fig. 403. 



:: ■■■ 



Fig. 404. 



1 ;; ■ ■■■ 

:: ■■ ■■ 

:: ana ■ 



>■■■■ ,a 
Fig. 405. 



1C 


n 


:; ■■■ 


■ ■■ 
















■■■ ) 






□ s ■■ 


■■■■ 


r 


n 


■■ :■ 


■ m 












■■" 


■■■■ 


n a 








31 










■ 


■■■ 


■ ■ H H 




■ 


■■ 


si ■ :: 




IB 


■ ■ 


■■■ :: - 


- G ^i ; ' 



1--5- 3- 






r. n ■ 


!■« 




1 : :□ • 






[LTH . I 


I ■• 


■ 














«:.»■■ ■ 






■ ■■■ H 





































Fig. 406. 



Fig. 407. 



Fig. 405 illustrates a similar arrangement as explained by weave Fig. 404, applied to the 
5-harness twill, i j and 1 j. Repeat: 10 warp-threads and 10 picks. 

Design Fig. 406 illustrates the checkerboard effect derived from combining the 8-harness 
twill - — j — - — j or warp face, with 1 — ^ — - — g, being the filling for face of the same weave. Repeat: 
16 warp-threads and 16 picks. 

Design Fig. 407 represents the checkerboard effect derived by combining the 4-harness 
broken twill, warp for face, with the same weave, filling for face. 6 warp-threads and 6 picks or 
equal 1^ repeat are used for each effect. Repeat: 12 warp-threads and 12 picks. 



79 

Combination of Warp and Filling Effects from a jj° Twill Weave after a given Motive. 

The next step towards figuring twill weaves is found in combining the warp and 
filling effect of a regular twill (the same as used in the preceding chapter on checkerboard effects) 
after a given motive (idea of a figure as desired to be made). Weaves Figs. 408a and 410 
illustrate two examples, which readily explain their construction after the motives given in Figs. 
408 and 409. 



■ ■ ■ ■ 



■ ■ ■ ■ 

1QCBBUJM 

Fig. 408. 

Motive for weave Fig. 408a 
4 warp and 
4 filling changes. 



1 


■■ ■■■ ■ ■ ■ ■■ ■ 


■■ ■ 


■ 


■ 


1 


■■B ■■■ ■ ■ ■■■ 

■■■ ■ ■■■ ■ ■■■ 


■■■ ■ 
■ 


■ 
■■■ ■ 


1 

( 


■ an ■ ■■■ ■ ■■■ 
■ ■■■ ■ ■■■ ■ 


■ 
■■■ 


■■ ■ 
■ ■■■ 




■ ■ ■■ 


■ ■ ■■ ■ 


■ ■■ 


■ ■ ■■ 




■ ■■ ■ ■ ■■ ■ ■ 


■■ ■ 


■ ■■ ■ 


I, 

1 


■ ■■■ ■ ■■■ ■ 
■ ■ ■■■ ■■■ ■ 
■ ■ ■ ■■■ ■■ ■ 


■■■ ■ 
■ 
■ ■ 


■■■ . 
■■■ ■■■ 
■■■ ■■ 


I 


■ ■ ■■ ■■■ ■ ■ 
■ ■ ■■■ ■■■ ■ 


■ ■ 
■ ■ 


■ ■■■ ■ 
■■ ■■■ 



Fig. 4oSa. 

Weave derived out of motive Fig. 408. 
Repeat : 16 warp-threads, 16 picks. 



Fig. 408 represents a motive after which weave Fig. 408a is constructed. The motive 
calls for four changes in effect in each direction, which equals (4X4 =) 16 possible changes 
over the entire surface of one repeat in the motive. In the design (weave) Fig. 408a, 
4 warp-threads and 4 picks are used for each change in the motive, and the 4-hamess twills 

1 3 and 3 j (warp and filling effect of the same regular twill) are used for interlacing 

warp and filling. 

The rules given under the head of checkerboard effects also apply to this subdivision. 



■ -■ "■■ - ■ 
■■ ■■ j.j 

■■ ■■ 

■ ■■ ■ 
■■ ■■ 

•■ ■■ 
■■ ■■ 
■■ ■■ 

Fig. 409. 

Motive for weave Fig. 410 

4 warp and 

5 filling changes. 



1 I 


■ ■■ 


TIB J 


■ ■ 


■ ■ ■ 


■■ ■ ■ ■■ 


■ 


8 J ■ 


■■ 


■ 


■ ■ 


■■■ 


■■ ■ 


■ ■ 1 


■ 


1 ■■ 


1 ■ 


■ 1 


■■ 


■ ■■ 


■ ■ ■ 


■■ 


■ 


I 1 


11 ■ 
■■■ 


a 
■■■ 


■ 


■ ■■ 
■ ■ 


■ ■ 
■■ ■■ 


■ 
■ 


■■1 

■ 


■ 


7 i ■ 


■ ■■ 


■■ 


■ 


■ ■ 


■■■ ■ 


■ 


■ 




1 !■ 


1 ■■ 


■ HI 


1 ■ 


■■ 


■■■ 


■ ■ 


■ 




1 ■■ 

1 


■ ■ 
■ 


■■ ■ 
■ 1 


■ 
■■■ ■ 




■ ■■■ 
■ 


■ 
■ ■ 


■ 
■■ ■■ 


■ 




■ 


■ ■ 


■■■ 


■■ 


■ ■ 


■ 


■■■ 1 


■ 


"1 _■ 


1 


■ ■■ 


1 ■■■ 


■ ■ 


■ 


■■ 


■■■ 


■ 


1 * 
1 1 


■ 


■1 

■ 


■ ■■ 
■ ■ 


■ ■ 
■■ ■ 


■ . 


■ ■ 
■ 


■ ■■! 
■ ■■ 


■ 


f. I ■ 


■■ 


■ 


■ ■ 


■ ■■ 


■■ ■ 




■ ■ 1 


■ 


1 ■■ 


■ 


■ 


■■ 


■■■ 


■ ■ 


■ 


■ ■ 


■ 


1 ■■ 


■ ■ 
■ 


■ 
■■■ 1 




■ ■■ 
■ 


■ ■ 
■ ■■ 


■ 
■ ■ 


■ ■1 

■ ■ 


■ 




■ ■ 


■■■ 


■■ 


■ 


■ ■ ■ 


■ ■ 


■ ■ 1 


, 


' '; ■ 


■ 


■ ■■■ 


1 ■ ■ 


■ 


■■ 


■■■ 


■ ■ 




1 ■ 
( 


■ 
■ 


■ 1 


■ ■ 
■■ ■ 


■ 


■■■ 
■ 


■ ■ 


■ ■ 

■ ■ ■■ 


■ 




■ 


■ ■ 


■ an 


■■ 


■ ■ 


■ 


■ ■■ 1 


■ 


3 ] _■ 




■ ■■ 


■■■ 


■ ■ 


■ ■ 


■■■ 


■ 


1 ■ 
1 ■ 


■ 


■1 

■■■ 


■ ■■ 
■ 


■ ■ 
■ ■ 


■ ■■ 
■■ ■■■ 


■ ■■■ 

■ 


■ 


' ■ 


■ ■■ 


■■ 


■ 


■ ■ 


■■■ ■■ 


■ 1 




'1 ■■ 


■■ 


■ ■ 1 


■ 


■■ 


■■■ ■ ■ 


■ 




* 


■ ■ 
■ 


■■ ■ 
■■■ 1 


■ 


■ 


■ ■■■ ■ 
■ ■■■ ■ 


■ . 
■ ■ 


■ 


1 ■' . 


■ ■ 


■■■ 


■■ 


■ 


■ ■ ■■■ 


■ ■ ■ 




1 ■ 


■ 


■ ■■■ 


■ ■ 


■ 


■■ ■■■ 


■ ■ 




I ■ 


■ 


■■ ■■ 


■ ■ 


■ 


■■■ .■■ 


■ ■ 





Fig. 410. 

Weave derived out of motive Fig. 409. 
Repeat: 16 warp-threads, 32 picks. 



Fig. 409 represents a motive after which weave Fig. 410 is constructed. The motive calls 
for four changes warp, and eight changes filling, ways, which equals (4X8 =) 32 different 
possible changes over the entire surface of one repeat in the motive. In weave Fig. 410, 4 warp- 
threads and 4 picks are used for each change in the motive, with the 4-hamess twills j and 

- 3 for interlacing warp and filling. 



80 



XI. Fancy Twill Weaves. 



The next plan for designing twill weaves is that of combining basket weaves, rib weaves, 
etc., arranged in the shape of twills, with any of the regular twills as may be desired. 
Weaves Figs. 411 to 421 illustrate a few such examples: 



■■ h :::: aa ■ 
■ ■ ex: aa ■ < 



■■ aa m 

□ 1 □□■ an 
■■■ 



□1 ' bbb .'□ 
G ■■■ n 



Fig. 411. 



R . . f 8 warp-threads, 



8 picks. 



aa aaa aa 

H BBC EEC 

a bhb a aa 
; aaa a:: aa 

i|ii.jaHBjL.;_E ] i 

Fig. 412. 



Repeat:^; 2 w 



[2 picks. 



• Jil B EH EH 
'■DBUGaDGB.GLJQQDC| 

Fig. 413. 



R f 16 warp-threads, 



16 picks. 



i'» aaa aaa ' ■ 



313 aaaa a a a 

h aaa aaaa ss 



a BB II 



□ :::: ebb ■ ::a j 



i □ a a bbib :: 
aaa a a ■■■ ;:e 
l a a bbb aaaa 



aaaa aaaa bb 



1 bbb aa a aa 

l bbb aa aa 

lBBBaQH.GQDaGGHQ.Da. 

Fig. 414. 



_ j 16 warp-threads, 

Repeat :j l6 picks 



bbb a a a a 
aa a a a 

BjgG.jBBBBGB^B.:] 

Fig. 415. 



„ _ / 16 warp-threads, 

P ' \ 16 picks. 



HEQGGL1 ' 'BB 

aaaaa. ■■ 
1 aaaa bb ■ 



Fig. 416. 



Repeat : 



16 warp-threads, 
16 picks. 



a bb aa a 

L bb aa BB 
1 bb aaa bb i 
du a::;: BB' 1 



aa .bb 

[ II .BB ■ 


bb a 

b aa j 


BB! j BB 


aa 


■ bb a 

L .BB a 

; bb aa 

bb aa 


a a ■ 
aa bb 

BB J 
BB 1 


b ._ aa 
aaa □ 


BB B 
B. . .BB 


[ aaa bb 


■■ 1 



BB EC! 
BB BB 

B bb an a 
aa aa 

BB. I 



BB ![J 


a aaa aa a 


aa aa ; aa 


: an bb bb i 


aa ■■ bb :i 


a bb . aa aa 


a aa bb aa 


bb bb an 


aa bb aa .1 


a bb aa a 


aa aaa 

bb aaa. 


BB 


■a j 


bbl an' :a 


■ 1 


a " aa bb 


B 


1. , an bb 


BB 


ana a a 


IB 


aaa bb a 


b u 


. . BB. BB 


aa 


1.. bb aa 


a a 


1 BB BB 


a a 


BBC. bb an 




a L bb. aa 


) B 


bb aa 


BB 


BBC ' aa 1 


■ "1 


b aaa bb 


B 


aaa aa. 


BB 


aa. bb: : 


BB 1 


an bb B 


B 1 


an bb bb 


1 


BB BB 




BB BB 




1B0 bb aa 





Repeat : j J 



Fig. 417. 

2 warp-threads, 
60 picks. 



i-BB bbb aaa aaa a 
a ! bbb ! an a bb 
bbb bbb 
bbb ana aaa bbb i 
:. bbb iaa a . bbb i 
bbb a aa aaa 
bb aaa aaa bbb b 
a aa a aaa bb 

BBB BBB 



Fig. 418. 



„ , f 18 warp-threads, 
Repeat: j jf 



[8 picks. 



- 'aa . bb .aa , .an a 
a bb an .aa a 


a. 


BB B 

BB' .. BB 


aa an n 




B 


■ BBB 


i bb . nn . a 


3 aa 


IB 


BBB 


bb: aa .aa 


aa □ 


1 


BBB' < 1 


B aa an ; 


aa bb 




BBB : a 


DBHG an E 


a . bb: . 


a 


BB BB 


ana. ' aa 'a 


a BB! !. 


BB 


B BB. 1 


a . a 




aa a 


BB 


bb a 


a a 




BBi BE 


B. 


ii a 


a a 


aa b 


B 1 BBB 




;n ::::; 


aa 


aa ap 


BBB 


B 


a aa 


a a 


. aa 


BBB 


BB 


aa a 


a a 


a bb : 


BBB ". B 


U^ 


a:: "in 


1 aa 


BB B 


BB BB 




: aa i 


1 aa 


BB ; IBB 


B BB 


_:: 


: aa 


a ■ 


B ' BBB 


' aa a 




aa a 


a aa 


BBB 


bb a 




aa a 


BB 


BBB ; 


bb a a 




aa 


bb : 


BBB 'IB 


I JB 




: aa 


B B 


BB . BB 






■ 


1 BB 


B BB 


aa a 


: 


::::.: u. i 


BBB 


BB : 


a aa 


a 


a bb. 1 


■ BB 


_BB_ .a 


a .aa_ 


a 


a. bb . 1 



Fig. 420. 



Repeat : -J 



24 warp-threads, 
24 picks. 



a>. mra"Bi 


IB 


■■"■■ aaaaa 


a bb 


BB 


a dd a 


BB 1 


BB 


bb . aaaaa 


a bb ai 


a 


bb. a 


1 BB BBI 


a 


B F .H rt H_ HHBaH 


BB BBB 
B IBB 1 


BB 
IB 


n .a "e. . . a 


LIBBB..BI 
BBB BB 


1 


a a .a " bb 

aaa bb 


BB! JflB 




a a .a bb. b 


BIBB a: 


aa 


■: a a ea bb 


bb a 




a BB BBB 


bb ac 




BB BBB 1 


b a 




a BB. BBB B 


a a a; 




' ■■ BBB BB 


a n a 




BB .BBB llj 


a a a 


a 


1 BBB BB 


c: a a 


BB 


BBB .BB 


iBQa_a_i 


B 


bbb: bb .. 









Fig. 419. 



P , f 20 warp-threads, 
P ' \ 20 picks. 



HUB B ] jB_ 

a: ' ::a . : aaa 
a aaa aaa • 

BBB! B . B , I JB . 
1... .LI-.L B_ BBB . 



fl BBB 

ana a 

" a 

IBB 



Fig. 421. 

,, £ (24 warp-threads, 
Re P eat: { Spicks. 



HI 
XII. Pointed Twills. 

Pointed twills constitute the next sub-division of twills, and are derived from the latter by- 
means of point draws (previously explained and illustrated under the head of drawing in drafts, 
page 33). The plainest "point draw" calls for each harness in rotation (beginning at number 
one, or front) until all harnesses are taken up. Next proceed to draw the rotation of harness 
backwards until you get on to the starting point. The first and last harness of the set (represent- 
ing the front and rear harness), technically known as " point harness," are drafted only once ; thus 
requiring only one-half the number of heddles compared to the others. If using a fancy 
point-draw, use the point harness in the one effect, straight in the next effect, and vice versa. 

■ ■ ■■ ■■ ■ ■ ■ ■ ■■ ■■ ■ ■ 



■ ■ ■ ■■ ■ H ■ 



■■ ■■■■■■ ■ _ 

■ ■ ■■■ ■ ■ _■ 

■ ■ ■ ■ _■■ 

■ ■■ ■■■ . i ■■■ 

■■ ■■ ■■ ■■ ■■■ 



■ 


■■■ ■ 


■■ ■ 


■ 


■■ ■ ■■■ 




■■ 




























































■ 































'■ 



■ «_x»dD i« . _■ ■ 1 ■■■■■ ■ . ■ ■ ■ ■ ■■■■■ m amao <u\ . m mr_rmr: m -• _uu~ M_t 

Fig. 422. Fig. 423. Fig. 424. 



Fig. 422 illustrates a " point twill " composed of the i 4-harness twill executed on the 

regular 4-harness point draw, 1, 2, 3, 4, 3, 2. Repeat : 6-harness and 4 picks. 

Fig. 423 represents a "point twill" composed of the 21-harness '/I'i'i'i'i regular twill. 
The point draw required is as follows: I, 2, 3, 4, 5, 6, 7, 8, 9, 10, 1 1, 12, 1 1 10, 9, 8, 7, 6, 5, 4, 3, 2. 
Repeat: 22 warp-threads and 21 picks, requiring 12-harness point draw. This will illustrate that 
the entire repeat of a regular twill must not be used in the construction of its " point twill," as 
in the present example only 12 threads of the regular twill, with 21 threads for repeat in weave 
are used, (9 threads being entirely omitted). 

The second kind of " point twills " is designed from the regular twills by means of a " fancy 
point draft." For example, weave Fig. 424, which in its mode of construction is designed from 
the - r L T *- r 1 - i 15-harness twill by means of the following fancy point-draft: 1, 2, 3, 4, 5,4, 
3, 2, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, II, 12, II, IO, 9, 8, 9, 10, 11, 12, 13, 14 and 15. 



■ ■ ■ ■ 
■ ■ ■ ■ 

a * c: ■ . ) 



1 :: ■ □ 
■ ■ ■ ■ 
■ ■ ■ ■ 
: : ■ t: ■ 



i c: 


■ 




■ :: 


n 


■ 


■ ■ 


■ 


! ■ 




■ ■ 


□ ■ 































































■ 






























□ ■ ■ 




u 






a u 






































■ 


■ HE 


1 ■ 

■ 


"n 




■ 
■ 


■ :: :: 

■ :: 






















ua 


■ 


■ 




: : ■ ■ 










■ 1 


















■ 


■ □ G 























■ ■ 




■ 


■ ■ ■ 


















□ 


■ 


■ 


r; ■ ■ 




■ 


■ ■ 


■ ■ ■ 










■ ■ 




■ 


■ ■ ■ 
















■ ■ ■ i 
















!'l 1 KMCbOQ 
















■ ■ ■ 










■ ■ 






■ ■ ■□ 


1 ■ 







Fig. 425. Fig. 426. Fig. 427. Fig. 428. 

The next step for figuring in point twills is to arrange the pointed effect in the direction of 
the filling. Giving Figs. 422, 423 and 424 each one-quarter of a turn, or in other words turning 
them so as to bring the filling into the position of the warp and the warp into the position of the 
filling, will produce weaves for this system. A straight draw for an equal number of harness, 
which is necessary for the foundation twill, is required for this pointed twill (filling ways). Thus, 
weave Fig. 422 will require a 4-harness straight draw with 6 picks; weave Fig. 423 a 21-harness 
"straight draw" with 22 bars in chain; weave Fig. 424 a 15-harness "straight draw" with 31 
bars in chain. 



82 

The next course for figuring in pointed twills is to arrange the pointed effect, warp and filling 
ways ; forming in this manner squares standing on one of their corners. These designs offer very- 
many fanciful arrangements and are extensively used in the manufacture of fancy cotton fabrics. 

Fig. 425 is derived from the 3-harness - 1 ^ regular twill by means of draft : 1, 2, 3, 1, 3, 2. 

Repeat: 6 warp-threads and 6 picks. 

Fig. 426 represents enlargement of Fig. 425 to 8 warp-threads and 8 picks repeat. 

Fig. 427 shows the same weave enlarged to 10 warp-threads and 10 picks. 

>iQB"'rj - i rm b b rr'-rwrrn 
K ■ 1:1 : a a a a ■::■ a a 
■ ::■■■ ■■■::■ 
a :::::: a a as ::■:::: a 



□ :;:::: 



BB 1 


;-tbb 


i :: b 


BBB 






1 BBB. 


BBB 


IBB BBB 


BBI 


BB 




G Bl 


B .G 




[ BBI 


BB 




1 BBB 


BBB 


■BB BBB 




. .BBI 






Bl 


■ c; b 




BBI 




[ BBB 


BBB 




I BBI 


IBB "" 




V. Bl 


IB E 


BBB 1 




IBB 




1 BBB 


BBB 


■BB BBB 




8MB 


■a aa 



1 BB 
B BB 
BB. BB .G 

1 BB BB 


_G 


""innDBB 
■■ 

G BB. a 
BB BB 


1 Bfl B 

G BB 

1 g bb 


a: 

BB 

a 


BB BB 1 

a .bb g ; 

BB 


: bb 
1 : :: bb 

BB fl 
~. BB BB 
L BB BB 
Bfl BB G 

a iab : 


a 

□ □ 
a 


aa g 

a BB G i 

BB .BB 

BB BB 1 

BB BB 

G Bfl ■ 

■ ■ 



GGG fl B 







9M::: 


a 


■ 

■ ■ 
■ ■ 

■ .IE 


■ B 

vS'z 
■ 


m 
■ 
■ b :: 

□ ■ 

■ 


a 


KJ 'S'a 


■ ■ 


■ 


n ■ 






1 ■ ■ 








■ '■ 




- 




is 





Fig. 429. Fig. 430 Fig. 431. 

Fig. 428 illustrates a pointed twill derived from the ^ — ^ twill by means of point draft, 
1, 2, 3,4, 5,6, 5,4, 3, 2. 

Figs. 429 to 435 represent a few novel and interesting designs of "pointed twills," which by 
means of the different styles of type used readily indicate their method of construction. 

Fig. 429. Repeat: 8 warp-threads, 8 picks. Point draw for 5-harness as follows : 1, 2, 3, 4, 
5. 4. 3> 2. . 

Fig. 430. Repeat: 16 warp-threads, 16 picks. Point draw for 9-harness as follows : 1, 2, 3, 
4, 5, 6, 7, 8, 9, 8, 7, 6, s, 4. 3. 2. 

Fig. 431. Repeat: 24 warp-threads, 24 picks. Point draw for 1 3-harness as follows: 1,2, 
3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 12, 11, 10, 9, 8, 7,6, 5, 4, 3, 2. 



:: :::: &■■■■■■ a bbbbbbb~~gg ~gggggd 

:::: 01398888 a 8 ■■■■■■■ ::;; ::;;:::.; 

GGG BBBBBB BB BB BBBBBB EJH 



GG BOBBBBB fl B BBBBBBB GG GGG '0 

GGG BBflflflfl Bfl Bfl BBBflflB " GG 

GGG GG " flflflflfl BBB BBB BflflflB GG. GGG 



:-.-..-. nosfla rrn — nnam 1 flflflflfl 

B BBB BBB 1 flflfl BB BBBBB I C 

Bfl 'flflfl G flflfl flflfl G .fl flflflflB 

■ BB ABB I III ■■ flBBB .BBB 

BBBBH '. 1:: :: g g g g abb ■■■■■ 



,GG r _G^qa 

g"gg"gG*'gG BBBBB BHBBI Gg"gg"gGC1 

: GG GG GG flflflflfl flflflflfl GG GG GG 

GG GG GG BBB G BBB GG GG E) 

■□ 



BBB 

H r , H r - K „ ".."„S.- :: _BBB_G_C: 

BflB flflfl . . .1 flflfl~fli n" G 



flflflflfl 1 . G S G G G G IBIIQ G G 

" H BflflflflBfl G 

■ flflflflfl ■ G 
BflB flflfl BBB 



.BBBBB i\'_ flflflflfl Ij G BflB G G flflfl ■ ■■ 



■BB .G BBfl 



a flflfl 
3 ■■ 

g ;; k 



G BflB ' GG GG GGG GG GG I BBBZI 

GG GG GG flflfl G ABB GG GG G 

flflflflfl flflflflfl GG GG GG 



GG GG GG flflflflfl ■■■■■ 
flflflflfl ■■■■■ 
■Bfl Bill flBBB BBfl 



GG flflflflfl flflflflB GGG H 

~~>. G' GO 



/G r- nH r< KGB r GG_BBBfl[jflfl B ■ ■ ■■■■■■JOG. GGG r- D 

i~g"'g"g"g"g " g"g"g i,"ggg"':;gg"gg bbb gg"ggg"ggg 



Fig. 432. Fig. 433. Fig. 434. 

Fig. 432. Repeat: 14 warp-threads, 14 picks. Point draw for 8-harness : 1, 2, 3, 4, 5, 6, 
7, 8, 7,6, 5,4, 3, 2. 

Fig- 433- Repeat: 24 warp-threads, 24 picks. Point draw for 13 harness: 1, 2, 3, 4, 5, 6, 

7, 8, 9, 10, 11, 12, 13, 12, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2. This design has only the point arrange- 
ment, warp ways. 



83 



Fig. 434- Repeat: 38 warp-threads and 38 picks. Point draw calls for 20-harness. Draw 
harness 1 up to and including 20 from front to rear, then follow by drawing harness 19 to 2 from 
rear to front. 



■ a :■ 



aaa a 
: a Baa :: 


■ hi a::n aaa aaa -a a a a aaa aaa 1 

J bbb a a a a aaa a a ■■■ ■ n n 


(^■SflSS. _5B5S" '"} '•'" ■■■■■" "aaaaa aa 

:aa ■■■■■ ■■■■■ :; a a aaa bbbbb bbbbb a:;:: a 

^"•■■'•"■•"r aa"aBa U a" «..■■■■■ ■■■■■">( FP. a ' 


aaa a ■•■ ■ aaa a"BBBBB"a ::::::"S"bb«"!":;:::': ::"bb 
:aa a iiiii a aaa a aaa a aaa :;•■■■■ a — aaa a a 



BBBBB BBBBB 



aa aa bbbbb 



a 
a a b_bbb aaa aaa aaa a u 



bbb a a aaa a a bbb a i 



■B BBBBB 

■BB BBBBB a 

■a ■ bbb aa 
■ bbb a aaa 

BBBBB a 

j bbb aa 



a ! 



bbbbb a aaa 



aaa 
u u uuu ■■■■■ aaaaa aaa a 
aaa aa bbbbb bbbbb. aa a 

a 



"aaa bbbbb a:; aa bbbbb 

.hi ■ a aaa aaa aaa bbb ■ 

. a bbb a am a a a a ai 



::aa 



a ■■ 



bbbbb bbbbb a aaa a aaa a bbbbb »yii :: 

■ bbb aa aa aaa :::: aa aaa a aaa :::: aa ■ 
■a a aaa a bbbbb a aaa a bbb a aaa a aa 



■a a 



: ■ aaa a 

aaa a bbb _ 

BBBBB BBBBB 






BBBBB 



■„R. : 3 P C) ■!!_";; iP aaa a ai 
a aaa a bbb a aaa a bbbbb 
a aa bbb a aaa a:: aa bbb a 
a a bbbbb bbbbb a a a a: 

:::::: iiin aaaac aaa 
aa aaaaa ■■•■■ aa 

a a bbb a a ■-- - ••- 

aaa bbb ib a a 



3a a bbb a a:: 

a bbb a bbb :: 

BBBBB BBBBB 



ia aa. bbbbb bbbbb 'aa ::::■■■•■ "a" ■ 

Fig. 435. 
, , Sinkers ; n, ■ Raisers. 



F'g- 435- Repeat: 30 warp-threads, 30 picks. Point draw requires 16-harness. Draw 
harness 1 up to and including 16 from front to rear, then follow by drawing harness 15 to and 
including 2 from rear to front. 



— °^ ; <w^§^^— 



Derivative Weaves from Satins. 



DOUBLE SATINS. 



These weaves are designed for woolen goods in which we desire to increase the strength and 
yet retain the satin face and finish. They are derived from the regular satins by adding one 
more intersection of each warp and filling thread in one repeat, either to the right or left, above 
or below, or in a short regular distance from the original point. 



ma ] ]. ■■ 

■ ■■ ■ 

■ ■ SI 

Ol < ■■ 

!:-r:u ■._ ■■ 

X ■■ 

■ ■ ■ 

. a ._ ■■ . 

lOBDDaBBDQO 

Fig. 436. 
and o for Raisers. 



1 


IB 


1 


B 
















■ 










: 


as 




BV 










8 


■ 


1 


B 










1 


1 


■1 


B 






IB 




■ 




BB 






■1 


1 . 


■ 



Fig. 437. 
■ and ■ for Raisers. 



an«na«a 


■ ■ 




_ . ■ .. M 






m ■ 






































■ 


■ ■ 












an 




■ 


■ ■ , 





















Fig. 438. 
and ■ for Raisers. 



Fig- 436 illustrates the 5-harness (filling face) double satin. The common 5-harness satin 
we find clearly indicated by ■. One point added (■) to the right has given the double 
satin. An examination of the same will show us a proportionally large float of the filling, thus 
leaving all the advantages of the satin for the face of the fabric. The warp we find changed in 

the new design from x - t to 1 — i — 5-_ j or twice as many intersections in the short repeat of 5 

threads, giving the fabric for which this weave is to be used proportionally more strength. 

Fig. 437, representing the 8-harness (filling for face) double satin, is designed upon the same 
principle as that of Fig. 436; having a larger repeat it will better demonstrate the purpose than 
the former. 

Fig. 438 illustrates the double satin (filling for face) produced in connection with the 8-harness 
satin, filling face. This time the adding point is found above the one for the regular satin, so the 
filling receives one more point of interlacing in each repeat ; hence more strength in the fabric, 

filling ways. 

oaa«GBQoaacMDBDn noiriui ■■ . ■■ 

■ ■ .,::■■ m ■■>■ ma cmaw 

~'_::~: ■:■ ■ ■ ■■■■■■ ■■■■■■] 

■ ■ ,., ._■ ■ ■ ■: >»> <■ in 



■ ■ ■■■■ EH ■■■■ I 



lgaaaDCBOBaaDnDBD 

Fig. 439. 
b and n for Raisers. 



Fig. 440. 
□ and ■ for Sinkers ; b for Raisers. 



Fig. 439 shows another and a different arrangement of the 8-harness double satin (filling 
face), having its added point in an oblique position to the original intersection of the regular satin ; 
consequently increasing the point of interlacing equally for warp and filling. 

Fig. 440 shows the regular 8-harness satin warp for face, arranged for double satin, and in 
its construction will correspond to Fig. 438. Both of the last mentioned designs also demon- 
strate the arrangement of the 8-leaf satin warp for face, after the principle observed either in 
Fig. 437 or 439. 

(84) 



85 
Granite- Weaves. 

Under this system of weaves we classify small broken-up effects, which are derived from the 
foundation weaves in various ways. 

Amongst the effects most frequently used, we find those that are derived from the satin- 
weaves. In this manner Figs. 441 to 469 are designed. 

80MJO— O 



1 ■ 
- 

■ 1 l 

■' i ""■ " ■""■■ 

■■ ■■ ■ B IB - 

■ ■■ ' H'JUB ' :■ ■ ■ 



■ ■ ■ ■ 

■an ■■ ■ 1 

■■ ■■ 1 ■ ■■ 1 



Fig. 441. Fig. 442. Fig. 443. Fig. 444. 

Figs. 441 to 443 are granite-weaves derived from the 7-harness satin. The latter is shown 
in each design by a. 

Designs Figs. 444 to 447 are derived from the 8-harness satin. The first two weaves are 
obtained by adding three additional points of interlacing to each original satin spot (■). 

'DnnoRiD snnoui ■■ t» ■ ■ ■ 

■ ■ ■ ■■■■ ■■■■ 

■ ■ ■■: I ■ ■ ■ ■ I 



■ ■ ■ ■■' ■■ I 

li ■■ ■ BB ■ 

■ ■■ ■ 
BB ■■ 

1: ■■ ■■ 



■ ■ ■ ■■ ■■ I B B B B I 

■ ■ » BB ■■ ie».:bl;b ■ 

Fig. 445. Fig. 446. Fig. 447 



The last two weaves are obtained by adding four additional points of interlacing to the 
original one. The original 8-harness satin is shown in each design by ■. 

Weaves Figs. 448, 449 and 450 are designs of granites having for their foundation the 12 
harness satin. The latter is again indicated by a different type (a) from that of its addition foi 
producing the granite-weave required. 



".. 



Fig. 448. Fig. 449. Fig. 450. 

Weaves Figs. 451 and 452 are derived from the 15-harness satin, which is similar to the 
preceding ones indicated by n. 

Weaves Figs. 453, 454 and 455 are granites, constructed in their foundation out of the com- 
mon 1 8-harness satin-weave. 

15 ■ ■ EBB ■ ■ ■■ ■■■ ■ ■ 



i!no»B»~i,~ira 
■ ■■ 


■ 
■ 


■■ 
■■ 




















'■ ■■ 


■■ 


■ 


■ a aa 




■■ 























■■ 1 ■ 

■ ■■ 

■■ 1 


■ ■■ 

■■ ■ 
a ■ ■■ 
















■■ 


■ ■ ■■ 















■ 


■ 


■ 


1 ■ 


■ ■ 


■ ■ 


■ 


■■ 


■■■ 
■ 




1 
1 


1 
1 ■ 


■ 
1 


■ ■ 


a 

■■ 
■ 


■■■ 




■ 


■ ■ 


■ 












■ 








■ 



■■ ■■■ ■ ■ ] 
■■■ ■ ■ ■ ■ 
■ ■ ■ ■■ ■■ 





■■■ : :■■ 1 ■ 


■ B 1 




■■■ 


BBB 


IB ] 










■■ 


■ 
■ 


BO 


BB 


B ' 


■ 


■■■ 

■■■ 




BB 
BBB B 


B 
B 












■ 
■1 

■1 
1 


■■ 
■■ ■ 

IB 
IB 

BBB 
BBS 


B 

B 
B 
B 


BBB 
BBB 

BB BB 

BB 

BB 

BBB 


■ 

■ SI 

BBB 

BB 


■■1 
1 Bl 


BB 
1 
1 


BB 
BB 


B BB 
B B 


1 



BB 1 IB ' ' B B B 

itjB3nj:B::jBO BBB i' r 

Fig. 451. Fig. 452. Fig. 453. 

Fig. 453 is produced by adding eight additional points of interlacing to the original spot. 
Figs. 454 and 455 are obtained by adding (regular) seven additional points of interlacing to 
the original spot (indicated by ■). 

Another method for producing granite- weaves is that of using the common satin-weaves for 



86 

the foundation, but so arranging the latter in their construction as to have every even-numbered 
vvaipthread in the main design (motive) missed, or not taken into consideration at all. Thus the 
5-harness satin will call for 10 warp-threads; "the 7-harness to be arranged, in the manner above 



■ :■_. B 
■a 
■■■■ 

■■■■ 



' BBBB ] SB ■ ] 



■C Tl 

BO 

■ ■■ 



■■■ bbb . 1: am 

■ aaa aaa 

h :■ ■»■ . ■ 

■■ , isa i i - ■ ■ 

6 HBCI 

aaa .: ' ■ 

■ BE . SOB : 



BBS 



1 :_■ 
■ B 
BBB 



B 

CDI 
BBB 
BBB 

::: bb 



DEI BBB 



Fig. 454. 



Fig. 455- 



described, for 14-harness, etc., etc. To give a clearer understanding of the method of procedure, 
Figs. 456 to 465 have been designed. 

Fig. 456 represents the common 5-harness satin designed on every uneven-n umbered (1, 3, 
5, 7, 9) warp-thread. 



a ■'" a a 
■_■■ ■ 



BB B B 



,,-j. . . ., rr - ra 
CI1; :__T.L] 

_i_r-i; :ccs-~ > 
laaoaijjDDaa 

Fig. 456. 



■ ■ ;\ a 

B BB ■ 


■ 












B 



' B'i 


1»"»13 


BB 


B i-B 


■ I 


BB 1 


B 1 


1 B ■ 


B Bl 

B 


1 ■ 

B BB 


' BB 


B ' B 


■ ■ 


BB 


B 


B..B 


1 IB Bl 


■ 



Fig. 457. 



Fig. 458. 



rGuDHBDCBn 

b . ;:u 

IB B 
■ BB ] 



Fig. 459. 



Figs. 457, 458 and 459 illustrate granite-weaves obtained from the latter foundation weave 
by means of adding four additional points of interlacing (selected differently in each design) to 
the original spot of the 5-harness satin. 

Granite-weaves Figs. 460, 461 and 462 are obtained, by means similar to the preceding 
cases, from the 7-harness satin. Their repeat is: 14 harness and 7 picks. 



□CBB ""■' B""BB 

: b bb bb ',:.! a 

BB B B BB 1 

- BB ■■ , ■ ■ 

■ ■ BB ..BB 

BB BB' : B B j I 

■ B_.BB.BB 



Fig. 460. 



Fig. 461. 



a ' .7M m b a 

' 1 bl.bb.. i a u 

lanBDDBDDaaDBBg 

Fig. 462. 



Designs Figs. 463, 464 and 465 are designed out of the 8-harness satin, and their repeat is 
16 warp-threads and 8 picks. In designs Figs. 457 to 465 the original weave for the foundation 
(or the 5-, 7- or 8-harness satin) is shown by ■. 

In the same manner that we construct granite-weaves out of the 5-, 7- and 8-harness 
satin, we can also construct granite-weaves out of satin-weaves having a higher number of 
harness for their repeat. 



a a bb a ■ a 

a ' b bbb a a 

B BBB B BB ■_ I ] 
■ BB B B BBB 

a aaa a BB J 
bbb. B as a 1 a 
aa b ■ aaa a 

__B_ III I III I 1 



Fig. 463. 



3 B bbb 


a 




: 


r—B 


LB 


a 


B 


B 


BBB 


B D 


a 


BBB 


a 


- ' 1 


BBB 


a 




a 


B a 


a 


a 


B 


M 


■a a 


. B. B 


BBB 






i. a i 


bb a 




a a 

.B BBB 


a ■ 


1 j_B_ 


B 


_■_ ! 



Fig. 464. 



Fig. 465. 



By using in this manner the 9-harness satin we will get 1 8-harness for the granite-weave 
and if we use the 10-harness satin-weave we will get 20-harness .'or repeat of its corresponding 
granite-weave, thus always requiring twice as many harnesses in repeat for the granite-weave as 
for the foundation satin-weave. 



87 

The next step in designing granite-weaves is the use of any satin-weave for foundation on each 
third successive warp-thread, which will equal: "Take one warp-thread, miss two," in the founda- 
tion satin-weave for the new design. 

To give a more perfect illustration of this method of procedure Figs. 466 and 467 have been 
constructed. 

Fig. 466 illustrates the 5-hamess satin-weave to be applied for the foundation of a granite under 
the previously explained principle of "take one, miss two," thus calling for warp-threads 1, 4, 7, 
10, 13 in constructing the satin for foundation. 

nBBBnanBBBGBBOjnBBBHG^BBB 3BBTJP 



_ EjI-JJ j ; : ] J : ]i )G_ 

I 



iBaaaaDadanaaabp 'M bb ■■■ ■■■ bb bbb bb 

Fig. 466. Fig. 467. 

Weave Fig. 467 represents a granite-weave as derivea from the foundation, Fig. 466. The 
original satin spots are shown in both designs by the same character of type, thus giving a clearer 
and more perfect illustration of the method of procedure. Any granite-weave, constructed in 
accordance with the present example out of a satin-weave, will always require three times the 
number of harness for its repeat that the satin calls for. Thus, the 5-harness satin requires 
15-harness in granite-weave; the 7-harness satin requires 21-harness in granite-weave; the 
8-harness satin requires 24-harness in granite-weave, etc., etc. 

This will readily explain that when using a high number of repeat in satin for foundation, a 
corresponding increase in the granite-weave will occur. For example, take the 12-harness satin 
which equals 36-harness in granite, a repeat too large for the number of harness operated in the 
loom. To prevent difficulties arising in this manner, we can readily substitute the missings of 
certain warp-threads for the filling, using warp-ways each thread in rotation as in the case of the 
example in the filling. 

The peculiar characteristics of the face of a fabric interlaced on a granite-weave, "small 
broken-up effects," will readily admit this change. The present rule, "take one, skip two," in 
producing the foundation satin can also be extended to " take one, skip three," or " take one, 
skip four." 



BaajDDBnua 

BE ( pa : bg 

I 



B 


B B BB 

■ B B BB 


BB B BB 

BB B BB 




■ B BB B 


BB BB B 


B 


■ BB B 
BB B BB 


B B BB B 
BB B BB 


B 


■ BB B 


BB III 




■ BB BB 


B BB BB 


B 


■ fl B BB 

BB B B 


BB B BB 
B BB B B 


■ 
■ 


BB BB 
■ B BB 

BB BB 


B BB BB 

bb a urn 

BB B BB 


■ 


■ B BB B 
BB B 
BB B BB 


BB BB B 
B B BB B 

BB B BB ] 


■ 
1 


■ BB BB 

■ B BB 

BB B B 
BB BB 


B BB BU 

BB B BB 
B BB B B 
B BB BB 



. Fig. 468. Fig. 469. 

Another method of designing granite-weaves having a satin-weave for foundation, is that of 
using the latter in the former, as follows: "Take one thread, miss one" (or two, or three, etc.) in 
the direction of the warp and the filling, thus increasing correspondingly the repeat of the warp- 
threads and picks. To illustrate the present method Figs. 468 and 469 have been designed. 

Weave Fig. 468 illustrates the 5-harness satin arranged in its repeat upon every alternate 
warp-thread and pick. Repeat: 10 threads each system. 

Weave Fig. 469 illustrates the arrangement of above-mentioned satin-weave changed to a 
granite-weave. 



88 

The character of type used in weave Fig. 469, for indicating one repeat of the satin-weave, is 
shown to correspond with that used in Fig. 468. 

It will be seen readily that it is possible to construct an endless variety of granite-weaves in 
this manner, therefore we only give these few examples to indicate the elementary principles of 
their construction. 

Other Methods of Constructing Granite- Weaves. 

Granite-weaves may be produced also by various other methods. Among those most 
advantageously used are those produced by using a suitable effect arranged in the shape of a 
broken twill. 

For example, we have designed weave Fig. 470, which will readily explain the method of 
procedure, as well as indicate how to proceed in constructing similar effects. A further method 
of designing granite-weaves is the using of a certain number of warp-threads and picks on a warp 
effect and exchanging alternately for the same size and figure, filling effect. 



1 aa mmcr Ha:ii:i 



!.:■■ aa. 



A B 



i, aaa a aaa ■ 

u aa: bb aa ai 



Fig. 470. Fig. 471. 

For example, in constructing by this method a granite-weave for 8 warp-threads and 8 picks, 
divide the 8 threads each system contains, thereby getting 4 squares of 4 by 4 threads dimension. 
Next put the effect desired into one of these squares. Into each square connecting with one 
side insert the same effect, exchanging from the breaking-offline, raisers for sinkers and vice versa. 

The fourth square, left unoccupied thus far, will readily appear as the connecting link for 
producing the entire weave. 

Figs. 471, 472 and 473 are constructed in this manner. Fig. 471, repeat: 8 warp-threads 
and 8 picks. 

Effect A for the first square of 4 x 4 threads, is shown by ■. 

B represents the square connecting with A on one side, situated on the right hand side. It 
contains the same effect shown in A reversed, raisers exchanged for sinkers. 

C represents the other square connecting with A. It also contains the effect shown in square 
A reversed, raisers exchanged for sinkers. 

■um " ""■■■■nocn scars ■ an an»an unan«n»B 

■■■■ bbbb r. _ a ■■■ a ■■■ ;; ■■ ■ 

■■■ a ■■■ a a ■■■ a ■■■ ■ urn 

urn _.□:■: bb aa gjbb b a aa a bb ■ :: 

i' aa bb aa bb b aa a a , aa a ' a a bb 

a bbb i: ■■■ bbb a ■■■ bb b 

BBBB BBBB BBB a BBB a B BB 

1DDCDBBBB .BBBB 1CLB„H .Ha ■ a aa IBBGB^QUG 

Fig. 472. Fig. 473- Fig. 474. 

Weave in squares B and Cis shown by so as to distinguish it better from A and D; also 
to indicate more plainly the method of procedure to be observed in the construction of different 
weaves. 

Square D forms the corresponding connection in the design. ■ is used in this square for 
warp up, similar to square A. 

Weaves Figs. 472 and 473 are constructed with different effects, but in their method of 
construction correspond with weave Fig. 471. Repeat in Figs. 472, 473 and 474: 8 harness 
and 8 picks. 



89 



Weave Fig. 474 contains the same method of construction as the foregoing three examples, 
the only difference being that the shape of the square is changed this time to a rectangle 
produced by 2 picks and 4 warp-threads. Repeat of weave : 8 warp-threads and 4 picks. 

Weave Fig. 475 illustrates a granite-weave similar to those already 
explained. Repeat: 20 warp-threads and 20 picks. Four changes in each 
system; thus 4x4= 16 squares (each separated by a break) in complete 
weave. 

As mentioned at the beginning, by granite-weaves we mean those 
weaves which form, when applied for interlacing a fabric (worsted or woolen 
goods), small broken-up effects upon its face. As this indicates to a certain 
extent a regularly distributed arrangement of interlacing, warp and filling, 
it will be seen readily that we can also construct and classify under this 
system of granite-weaves, designs having no real foundation of structure, but in which the method 
of interlacing will produce the small broken-up effect upon the face of the fabric. 

Weaves Figs. 476 to 486 illustrate a few specimen designs constructed in this manner. 



■ ■ 
■ 


■ ■ ■■■ ■ ■ 
■■■ ■■ ■ ■ ■■■ 

■ ■ ■■ ■ ■ ■ 


•a 


■■ ■■■ ■ ■■■ ■ 
■ ■ ■ ■■■ ■ 


■■■ 


■ ■■■ ■ ■ ■■ ■■■ 
■ ■ ■ ■■ ■ 


■ 


■ ■■■ ■ ■■■ ■■ 


■ ■ 


■ ■ ■■■ ■ ■ 


■ 


■■■ ■■ ■ ■ ■■■ 


■■■ 


■ ■ ■ ■■ ■ 


■ 


■ ■■■ ■ ■■■ ■■ 
■ ■ ■ ■■■ ■ 




■ ■■■ ■ ■ ■■ ■■■ 


■■ 


■ ■ ■■ ■ ■ ■ 


■ 
■ ■ 


■■ ■■■ ■ ■■■ ■ 

■ ■ ■■■ ■ ■ ] 


■ 


■■■ ■■ ■ ■ ■■■ 


■■■ 


■ ■ ■ ■■ ■ 


■ 


■ ■■■ ■ ■■■ ■■ 




4 111 M 21 



Fig. 475. 



Repeat : 



'-'■■ ■■ 


■ 












: ■■ 


■■ 








■■■ 


■ 


■■ 










■ ■ 


■■ 


■■ 


■ ■■ 


■ 







Fig. 476. 

I 12 warp-threads, 
{ 12 picks. 



Repeat : 



■ 1 


19 ■□ 


■ ■ 








■1 
■■ 


1 ■ ■ 

■ ■■ 


■ 
■ 








■ 1 


■ ■ ■ 
■ ■ ■ 


■ ■ 








■■ 


■ ■■ 


■ 


■ ■ 


■ ■ ■ 





Fig. 477. 

f 12 warp-threads, 
I 12 picks. 



Repeat : 



■■■■ ■ 

Fig. 47S. 

f 12 warp-threads, 



{ 12 picks. 



Repeat : 



■■ 
■■ 
■ 


■ urn 

■ ■■ 

■■ ■ 


■ 
■ 
■ ■ 






■1 


■ 






■ 


■ ■■■ 


■ i 


■■ 
■■■ 


■■■ ■ 
■■ ■ 




■ ■ 


■ .. m 


■ ■ 



Fig. 479. 

( 12 warp-threads, 
I 12 picks. 



Repeat : 















■ ■ 


■ ■ 

■ ■ ■ 


■ 






■ 


■ ■■ 


■ * 


■ 


! ■■ 
■ ■ 


■ ■ ■ 

■ ■■ 


■ 
■ 



Fig. 480. 

I 1 1 warp-threads, 
I 1 1 picks. 



■■ ■■ ■■ 



■■■■annuo 



Fig. 4S1. 



Repeat : 



f 10 warp-threads, 
I 10 picks. 



■■ ■■ 



■■ ■■ ■■ ■■ : 

■ ■■ ■■ ■■ ■ 

■ ■■ ■■ ■■ ■ 
■■ ■■ ■■ ■■ 
■■ ■■ ■■ ■■ 

■■ ■■ ■■ ■■ 



- ■■ ■ ■ 



Fig. 482. 

Repeat: .J 8 warp-threads, 
1 8 picks. 



Repeat 



Fig. 4S3. 

j 8 warp threads, 
'( 8 picks. 



■ ■■ ■ 

■ ■■ ■ ; 
■■ ■ ■ i 

■■ ■ ■ 
■■ ■ ■ 
■ ■ ■■ 

■ ■ ■■ 

Fig. 484. 



Repeat: 



f 8 warp-threads, 
I 8 picks. 



■ ■ ■■ 
■ ■■ ■ 



■ ■■■ 
Fig. 485. 



*«•<><■ {l7£ h, " d '- 



Fig. 4S6. 



R f 8 warp-threads, 

Kepeat : ^ g pjcks 



Combination of Different Systems of Weaves for one Design. 

As indicated, designs or weaves classified under this head are produced by combining two, 
three or more weaves from those explained in any of the preceding systems, or divisions 
of it; also any new weaves similarly constructed by any of the rules given or examples illustrated. 
Thus it may readily be seen that a great number of such combined weaves can be constructed, 
but practice will teach us to be careful in selecting the weaves for combination, so as to have them 
harmonize in their method of interlacing and to secure perfect work upon the loom, as well as 
the proper finish of the fabric after it has gone through the finishing process. This point must 
especially be taken into consideration in the manufacture of woolen fabrics, as these generally 
require fulling; therefore places more irregularly interlaced in one part of the design than in other 
parts will have a tendency -to shrink irregularly in the fulling process. In the manufacture of 
fabrics requiring no finishing at all, or requiring but very little (such as shearing, calendering or 
pressing, etc.), this trouble will be of less consequence than in the case of fabrics requiring a finish. 

Therefore the rule for designing weaves for worsted and woolen fabrics under the present 
system, is as follows: Only combinations of weaves are allowed in which the fabric shrinks regu- 
larly at the loom and during the fulling and scouring process. 

We will introduce a few designs containing the principles of the various combinations 
and thus explain the whole system. 

For example, it may be desire to produce a stripe effect upon a ground interlaced with 
the plain weave, and in addition the stripe be required to stand out more prominently than the 
ground. In this manner design Fig. 487 is constructed. 

! n Repeat: 12 warp-threads and 4 picks. 

8 warp-threads (1 — 8) marked I interlace in the regular plain weave. 
4 warp-threads (9 — 12) marked II interlace in the regular 4-harness 
s _ twill. 



■ a sua an ■ : 

■ ■ :■■■ ■ a a ■ 
b naa in a ■ 

■1 nna as n m m a 
u d hub ■ e a 

■ ■ ■■■ H ■ ■ ■ 

_■ ■■■ a ■ a ■ 



12 warp-threads repeat. 

Suppose, again, we would use in our present example one kind of yarn (same size, quality, 
color). A careful examination of the subject by the novice will convince him that the 8 warp- 
threads working with the plain weave must intersect twice as often with the filling as the 4 

threads working with the j twill. Practice will readily demonstrate that the 8 warp-threads 

interlacing on plain, will become tighter (take up more) than the 4 warp-threads interlaced in 
twill. The entire warp being a continuous repetition of the 12 warp-threads until taken up, will 
thus have the arrangement of 8 warp-threads interlaced with the plain weave and 4 warp- 
threads interlaced with the r twill taken alternately and repeated over its entire width. This 

in turn will produce a tighter texture in the plain woven part as compared with the twill part. 

A perfect fabric requires an even texture all over its surface, which is not guaranteed in the 
present example because of the vast difference in the result of interlacing of the plain weave 
and the twill weave in the same fabric. 

We will next consider methods to be employed for producing an even texture (or as nearly 
even as possible). Either we must use a heavier size of yarn for those warp-threads which interlace 

on the j 4-harness twill as compared with the warp-threads woven on plain ; or we must 

use a higher texture (more ends per inch) for the twill part than for the part interlacing 
with the plain weave. 

If we should select the first mentioned point for evening the texture in the present example, 
we increase the bulk of the fabric, which may be objectionable, whereas if we employ the second 
point this will be to a great extent avoided. This will better explain itself by means of the 

(90) 



91 

following rule as to sizes of threads compared with their diameter : " the weights of threads do 
not change in proportion to their diameters, but vary in the same ratio as the squares of their 
diameters." This will readily demonstrate the second given point as the proper one to be used 
in the present example for producing the required even, or as nearly even as possible, texture. 

In weave Fig. 488 we illustrate the combination of 9 warp-threads interlaced with the 
5-harness satin, and 10 warp-threads interlaced on a fancy twill; both weaves combined forming 
corresponding stripes in the fabric. On examination the amount of intersections in each weave 
will clearly appear to the student to be even, thus no great trouble can result in combining 
these two weaves into one. It also explains the method of procedure in combining similar 
weaves for the same purpose. 



■ ■■ ■ 



, . v r" *— N -. 








■ ■ ■■ ■■ 






■■ ■ ■■■ ■ ■■ ■■■ ■ 

■ ■■ ■■■ ■ ■ ■■ ■■ 
■ ■■ ■■■ ■■ ■ ' ■ ■■ 


■ ■ ■ ■■■ 

■ ■ ■ ■■■ 

■ ■ ■ ■■■ 
■ ■ ■ ■■■ 


■ ■■ ■■■ ■■ :■■■ ■■ ■ 


■ ■ ■■ ■■ 

■ ■' ■■■ ■ 







■ ■■ ■ 

■■■_■■■■■ BB.JQUD ■ .... laLJjIII ■ ■ ■■ ■ ■■ ■ ■ . Ill 

Fig. 488. Fig. 489. 

Weave Fig. 489 represents a perfect combination of five different weaves produced with a 

repeat of 38 warp-threads and 6 picks. Warp-threads 1 to 6 are interlaced with the regular - f 

twill. Direction of twill from the left to the right. Warp-threads 7 to 12 are interlaced with the 

common 6-harness j basket- weave. Warp-threads 13 to 27 have for their weave the skip 

twill derived from the regular 6-harness s twill by means of "take three threads successively 

and skip two." Warp-threads 28 to 31 are interlaced with the common rib-weave j warp for 

face. Warp-threads 32 to 38 are interlaced with the filling by means of the 3 j 6-harness twill. 

Direction of twill from the right to the left. 

Weave Fig. 490 illustrates another perfect combination of two weaves from two different 

divisions of weaves. In the same the combination of the regular 8-harness twill - j, used for 

six successive warp-threads, and the 16 harness corkscrew, used for 18 successive warp-threads, 

is shown. 

■■ ■■ ■■ ■■ 

■■ ■■■ ■■ ■■ 

■■ ■■■ ■■ ■■ i 



■■■ 


IB 


IB 


■ ■ J 


■■ ■ 
■■ 


■ 
■ ■ 


■ ■ 
■ ■ 


■ ■ 


















■■ 


■ ■ 


■ ■ 


■ ■ 


■■ ■ 


■ 


■ ■■ 


■ ■ 


■■ ■ 


■ 


■ ■ 





■ a :: ■ ■■ ■ ■ ■■ ■■■■■■ 

Fig. 490. Fig. 491. Fig. 492. 

Weave Fig. 49 1 illustrates the same corkscrew as used in weave Fig. 490 combined with a 
rib-weave, filling for face. Warp-threads 1 to 5 are required by the rib-weave and warp-threads 
6 to 28 are called for by the corkscrew. Repeat: 28 warp-threads and 8 picks. 

The next step for figuring in this system of weaves is by combining two weaves in the shape 
of alternate squares of any size desired. 

In the construction of these weaves we must be careful in the selection of the places for 
joining the two original weaves in the direction of the warp as well as the filling, so as to omit 
any unnecessarily long floating of either system of threads. 

Fig. 492 illustrates the combination of 

8 threads on 4-harness basket-weave and 
8 threads on the $— ~ — ^- - 9-harness twill. 

16 threads repeat, warp and filling ways. 



92 



By carefully examining the combined weave we will find the twill and basket so selected 
as to form a clear break between. 









■ : hi 

■ BE 


1 j ■■ ' ■ ■■ '■■ 
SB ■■ '■■ ■■' . 
1 BB B BB Bl 


BB BB: , BB 3 
■ B BB B 1 IB 
1 BB BB BB 1 




■■ ' ■■ .■■ i BE 


ibb ■ 'bb i, a I a 






■■ ■ a bb ] 


■■ 

an 
Be ■■ 


■ ■ ■■ ■ BB 1 

■ ■ I ■■ ' BB ' Bl 
BB ' BB ■■ : BB 


BB. B BB ■■ :"| 
1' ;!■ BB B ■: B 

'BB' B B .< 'BB 


L ■■ 


BB j «B ■ Bl 'Bl 


bb bb a a 


■ ■ 1 

■ ■ 


B BB Bl BB 
IB BB ,B . BB 1 


BB B B I 1 ■■ 
BB B a III 

ii 1 ii bs :;] 


Cflfl 


BB BB B BB 1 


B B BB ' BB 














■ ■ 1 


B : BB ; B ' 'BB *' 1 


■ , B 'BB: BB J 















■■ .bb aa .a . .bb. 

BB BB BB B BB J! ■■ ■ ■■ ■ 
1B_ BB BB ■ BB BB:j._BB BB BB 1 

Fig. 493. 



4X12. 

Basket. 


4X., 
Twill. 


4X4- 
Basket. 


4X4. 
Twill. 


4X.2. 
Twill. 


4X12. 
Basket. 


4X4. 
Twill. 


4X4. 
Basket. 


12 X 12. 

4-harness 
Basket. 


12X12. 

4-harness 
Twill. 


12X4. 

Basket. 


12X4. 
Twill. 


12X12. 

4-harness 

Twill. 


12X12. 

4-harness 
Basket. 


12X4. 
Twill. 


12X4. 
Basket. 



Fig. 494. 

In weave Fig. 493 we illustrate four different combinations of two weaves in each 
direction of threads. 

The arrangement observed is clearly indicated in diagram Fig. 494. 



1 rmmr 

B B 
B B B 


a 

B 


B 

■ 
fl 


BB 

BB 

a i 


BB ] 


fl 


a 


BB 


B B E 


a 


IS 


!• . J 


■ B B 
BB 


B 

a 


a ' 


BB 


a m 

B B B 
BB.:' JB 


B 

a 
■ 


a 
a 


a i 



Fig. 495. 



i.'BnBnB'~."BBcr;BBCia 

B B BB 

a a bi 

i. ,B.ia j 
a b a 
a a aa 
a ".■ — 

i.'B'.'B 

a a : 

B B 

I B B Bl 

a a a 

1 a ' b ai 
aaa 
1 : a: a. .ai 

Fig. 496. 



BB BB BB BB 

D ■ BM BB BBS 

bb .bb ii j aaa i 

BB BB BB BBB I 



:. b aaa ' bb bb 

B9 BBB BB BB ' 

■1 bbb aa aa 

. BBB BB 'BB j"B 

BB BB BB SB 

BB BE BB BE I 

IBB BB UB..J BB. I 



Fig. 497. 



Another method of figuring in the present system of weaves is the checking off of a weave 
of a given size (mostly square) with another weave, both weaves to harmonize in their methods 
of interlacing. 



■ aa__ aa r .:aa_- aa r ;aa r- aa';';a 
iBB^aa^aa^aa^aa^naa^iaaj 

■a "aa "aa "aa "aa "aa "aa \ 



^mBBB 1 ' 
'. BBB 

■aa 



■aa.:' .aaa' 



BB BB J 



aa 

l:l; aa 

c:a a 

a aa 1 

aa aa : 

aa aa 

aa a 



aa ri j 



■ B BB 

■ aa 
aa .aa 



■aa. bb bb 



bb a . aaa 



aaa bbb bbb bbb j 

lBBBGujaaaGGi .bbb. .jjb — 



^ 



Fig. 498. 



BBB B ..BBB B BBB B BBB B i 

uj: j b^u«bb__bb_ bb ._bb_ bb_._.bb__bb 
Fig. 499. 



Figs. 495, 496, 497, 498 and 499 are designed to illustrate a few of these combinations. 

Weave Fig. 495. Repeat: 12 warp-threads and 12 picks. In this weave 8 threads, warp and 
filling, interlaced on the 4-harness basket-weave, are checked off by the / a'!^ 4-harness granite- 
weave, 4 threads for each system. Vmcd/ 



93 

Fig. 496 represents 1 1 threads, warp and rilling, interlaced with the 2 - t 4-harness twill and 

overchecked with a common rib-weave. In the place where warp and rilling rib meet the inter- 
lacing is done in plain weave. Repeat: 15 warp-threads and 15 picks. 

Fig. 497 represents 14 warp-threads and 14 picks interlaced in twill and overchecked with 

2 threads of basket-weave. Repeat: 16 warp-threads and 16 picks. 

Fig. 498 represents 21 warp-threads and 21 picks interlaced in twill and overchecked with 

3 threads basket- weave. Repeat: 24 warp-threads and 24 picks. 

Fig. 499 illustrates 25 warp threads with an equal number of picks, interlaced on the ? ^ 

4-harness twill and overchecked with 7 warp-threads and 7 picks of the granite-weave. Repeat : 
32 warp-threads and 32 picks. 

Figured Effects upon Fabrics interlaced with Derivative-weaves Produced by Arrange- 
ment of Two or More Colors in the Warp or the Filling, 
or in Both at the Same Time. 

Throughout previous lectures explanatory of the plain weave, the twills, the rib-weaves, the 
basket-weaves, and the broken-twill-weaves, the importance of the color arrangement in connection 
with the method of interlacing for producing the effect in a fabric, has been frequently dwelt upon. 
In the manufacture of fabrics known as fancy cassimeres, ladies' dress goods, etc., these are of 
special importance, for the reason that these fabrics are subject to constant changes, both in 
design and effect, by the demands of fashion. A great variety of new styles in such fabrics might 
be designed alone by the different ways of interlacing warp and filling, yet the different color 
arrangements in the warp and filling will always be of great assistance to the designer. 

Therefore, before proceeding with the course of lectures for constructing weaves for single- 
cloth fabrics of a special construction, and double cloth, etc., we will take up the subject of color 
effects in combination with plain weaves, fancy twill-weaves, granite-weaves, etc. Explanations 
accompanied by their respective illustrations of weaves, with resulting effects, will readily 
1st set. 2nd set. enable the student to comprehend their principle of construction. 

Design Fig. 500 shows at A 16 warp-threads arranged in two sets. 

(VJ'l Each set is interlaced with the filling (same for both sets) on the plain 

3 n r. :: :: :: :: dS weave, and the connection between each set arranged so as to have the 

:::: ;: ;: :: :;:::::::::::::» last warp-thread of the one set working the same as the first warp-thread 

"" "', of the second set. B shows the indications for the dressing, arranged for 

I ;!:::::::::::):::) one thread light to alternate with one end dark, and equal at C, indicated 

'" " " for the filling. 

(For hair-line and tricot effects combined, thread and thread, con- 
structed on the regular plain weave, and repeated without interruption or change over the entire 
width of the fabric, see Fig. 20, page 15. For producing the change from tricot to hair-line and 
vice versa, the arrangement of two threads of one color is used in one place in the design which 
corresponds with the place in the fabric where the change from tricot to hair-line is required.) 

In the present example, Fig. 500, the dressing is not disturbed, but the weave is arranged so 
as to have (as already mentioned) the first and last warp-thread of each set work equal. 
Warp-threads 1 to 8 = 1st set, shown by ■ type. 
Warp-threads 9 to 16 = 2nd set, shown by a type. 
Warp-threads 8 and 9 are connecting threads, interlacing alike into the filling. 
Warp-threads 16 and 1 are the second set of connecting threads, interlacing into the filling, 
and arranged to raise and lower on the pick opposite to the first set. 

It will readily be seen that the changing or breaking off of the plain weave, by arranging two 
successive warp-threads to interlace in the same manner, will reverse the tricot effect to a hair- 



* •:• * *i 



94 

line effect, and vice versa (on a regular arrangement in the warp of one end light to alternate with 
one end dark over the entire width of the fabric). See D, Fig. 500 for effect. 

This arrangement of working two successive warp-threads can also be extended to the 
filling, producing some of the most novel effects for ladies' dress goods and similar light-weight 
fabrics. 

Such effects and their construction are illustrated in the following designs, Figs. 501 to 509. 









■■■ 
■ a 


■■■ _ 

■ B B 


B 


G~. ■ 


■ ■ - ■■ 


1 














■ ■ 


a d b 


B 




BB BB 

b ■ a b 


B 
3 



anogiHMDOD 
































































































































































! ; 
















































1 













































Fig. 501. 

Motive. 



1 , 

Fig. 502. 
Ground-plan. 



Fig. 501 is designed to illustrate a motive. Suppose the ■ indications in the same to repre- 
sent the hair-line effects and the □ the tricot effects. Again, suppose every square in the motive 
to equal four threads in the warp and filling in the weave and effect. 

An examination of Fig. 501 shows six squares each way for repeat, therefore 6 X 4 — 24 
warp-threads and picks for the repeat of the required weave and effect. 

Fig. 502 illustrates the ground-plan and represents a four-fold enlargement of 501. 

In Fig. 502 those parts of the design requiring hair-line effects (according to the motive) are 
indicated by u type and those requiring tricot effects by o type. 





















c 

! 
C 

c 

: 




B B 

■ •■:• 

B B • 

B a* 

s •:• > 

•:• ■:• ■:• 


OB 
Iffl B 
*■ *B 
S3 B 

' * •: 


a 

a> 
a 

a- 
_•:■! 


a 
a 

B t 


a a 

B fl 

a a 

B 1 

a a 

a a 
a ■ 


C- ' 'i 

a a 

a a 
a 


B 

a 




bj? 


b ■■:• 

a a 
a !•:■ 


B 

•i' a 
s ' ■ 


B 
■ 


** 


a ■ 

a a 

B I 




'<- 






s *B 
& 1 


as 




B 1 


•:• •:■ 


B 


a 


: 


:::: 


•:• 93 ■ 

B B a 

a a ■ 

a a a 

B B ■ 


a* 
a a 
a a 

B B 
B a 


a 
a 

B> 
B 
B> 


a 1 


■:• * 


a. 
■:• ' ■;- 


a 
:• 
1 
-J 


r 




.:• a 1 


a*.* 


7. 


B 1 


■:■ * 


a 


m 



LJ— s a 





UUUUUUUU!. lILLMJUULODDCOOnn 

:: :: c: :: :: :: r: :: :: :: :: n \A 
r. :: :: :: :; :: :; :: :: :: :: a. K 1 
)„ 4 




::n::::;; ;; ::::::::y ;; a::;:::;; ;; j 




:! 1! 1 1! !: « :»::::.:::::i:™:Hsi3 




":■:'"-■ '■^■}. '", ■*■£: ill 


.... 


?: i ". : :' .'.:," ':-' :■■ '.'^,'1 


:::: 



.... 


,..".......",■ !::..!;„:: :: H.M ' 



Fig. 503. 
Weave. 



Fig. 504. 
Effect in Fabric. 



Fig. 503 illustrates at A the dressing, one end light to alternate with one end dark; B the 
same arrangement for the filling, and at C the applying of the plain weave to the ground-plan 502, 
arranged as explained before. The weave for the part of the fabric requiring the hair-line effect 
is represented by a and the weave for the tricot effect by ■. 

Diagram Fie. "i04 illustrates the effect visible in the fabric. A, arrangement of "■"aa'anaS 
warp, one end light to alternate with one end dark; B, the same arrangement for ' S 5" a-a! 
the filling; C, the effect produced. 

Fig. 505 is a motive for another effect. Use 8 warp threads and the same 
number of picks for each small square in the motive. Type ■ for the tricot effect 
and type □ for the hair-line effect. 



B SB B LB 
II ■■ ■ HI 

Fig. 505. 



95 

Fig. 506. A, the indications for the dressing; B, the same for the filling; C, the weave. 
Fig. 507 represents the effect as produced in the fabric. 



R 

c 


r~ 


£ v ■:■■ ■ 
£ >:• * ■ 


■ ■ 
■ 

■ ■ 


A 

■£ 5 B B ■ 
■ £ £ £ £■ 


■ ■ 
1 ■ 


■ 
■ 1 


:: :: :: 

■ ■ ■ 

■ ■ 


■ ' 

■ 


t 


■ 
■ 
■ 


s * * ■ 
£ £ •:•■ ■ 
:< * Si ■ 

£ © ■:■■ ■ 

■ ■ ■■:■ s 

■ ■ ■ 

■ ■ ■■:■ 

■ ■ ■ 


■ ■ 

■ 

■ ■ 
■ 


S ■ ■ ■ ■£ 
-!'■■■« 

£ ■ ■ ■ ■£ ► 

•:•■ ■ ■ ■ 
:• ■ ■ ■ ■•:■ 










B 


■ 


■ ■ ■■:■ s 
■ ■ ■ 
I- 5' * ■ 

£ a -:•■ ■ 
H £ B ■ 

£ >:■ ■:■■ ■ 


■ ■ 
■ 

■ ■ 
■ 


> b ■ c ■•:■ 
-.•■Ban 

■ £ -:- £ £ ■ 


■ ■ 


■ 


■ ■ ii 


■ 


[" 


1 
ix; ■ 

■ 

■ 

■ 

■ 


£ •:■ •:•■ ■ 
B £ £ ■ 
Si s >:■■ ■ 

■ ■ ■•:- b 

■ ■ ■ 

■ ■ ■>!• 

■ ■ ■ 

■ ■ ■■:■ ffi 

■ ■ ■ 

■ ■ ■•:■ 5 

■ ■ ■ 

■ ■ ■•!' ■: 


■ 

■ ■ 

■ 


£ ■ ■ ■ ■■:• 
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■ ■ ■ ■* 
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£ ■ ■ ■ ■ £ 
£■ ■ ■ ■ 

■ ■ ■ ■•-■ 
ft ■ ■ ■ 

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v : v 




:w 


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n ■ £ 

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■:■ ■ ■ ■ ■•:- • 

: y ■ ■ ■ 
£ ■ ■ p ■<:< - 

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: '*i 



Fig. 506. 



Fig. 507. 



Fit 
Fig 

motive. 







4 




















;. :: a 




















:: :: u" 














ii ii ii 












:: :: :i 
















::::r:::c:a 

: ;n 


















; 








:: ::' :: 

:: :;■ up 












:': ::' a 






:: c: ci 










::;:::::::;) 












:;::::::::3 








"'■'"""i 








: 11 «■« 
:::::;c:::n 

,MII 

"^"']^"l 















508, motive. 

509, effect obtained by using 6 warp-threads and 6 picks for one small square in 
Repeat: 36 warp-threads, and the same number of picks. 



■■■ ■■■ 



Fig. 508. 







r:::::::: 




::;:::;:: 













:::::::c::::::y :: ::• :: :: 


:■ ::'T! 


{.nlia 




::• n 






:: :j 






11 






c: i5i :ii c; ii :: i: :: :; l:::l:::l;:::::::::;l::::;:::::;::::i 



Fig. 509. 



oai rasa 



.e_es iffluffl J 
Fig. 510. 
16 harness and 16 picks for repeat. 



0-<?"iF '-.'■ ■:■ ■:■ ■:■ ■:■ ■:■ 

>:• ■:■ ■:■ ■:• •:■ >:- ■:■ •:■ ■:• ■:■ •:■ * ■:■ ■:■ ■:■ ■:■ i 



;; 












1: 




x x x x '. : x x x x x i 


t| 










llrlHIUIIll! 


I 












Ii 






E 


•:• •:■ 


. * ! 



iiii a ii ri * ti. •:••:• n- :■!• •!•. * >i ■>. :■;• ij. 1 



• Fig. 511. 



Novel effects are also obtained by figuring upon the plain weave. For example, weave Fig. 
510 produces effect Fig. 51 1, by means of 1 end light or color No. 1, to alternate with 1 end 
dark, or color No. 2. 



96 

Effect Fig. 5 1 3 is produced upon a fabric interlaced with weave Fig. 512. Arrangement for 
warp and filling: 1 end light, or color No. 1, to alternate with 1 end dark, or color No. 2. 



-■-..H..EL'«B_n E a a a a a ■■ a 'a 
a ,3 a aa a :: a a a a ■■ B 1 

,a a a as a ;: a a a a a bb a 
k .:: a a aa :: :: :: :: a a a ■■ : 

a a a a an a a a a a a a an 
B .:; a a an a a a bbb a a a a 
■■ a E bb E a :: bb ■■ a 

bb a ■■ a :: a ■■ a ne a a 
e ■■ aa a a a bb a ; □□ a a 
I ie bbb a a a bb a a a bi 
a >E a a a a bb a a a a bb a i 
1 'E a a a a bb a a a a bb a a 
G a a a a aa a a a a bb a a 
1 ia a a a aa a a a a n a a a 



■ JE E E BB BB E E E BB E ,S. D 

bb a a a bbb a _a a bb e e e j 

dd a a a n a e a an a a e e 

a ■■ a a a a a a a bb a a a : 

ie bb a a e a a a a bib a a a 

ia..a..BB ,a_.E. a.a_E x:..:e .bb_e_e:j 

Fig. 512. 
28 harness and 28 picks for repeat. 



bbbbbb D b b b •:■ ■:• •:■ •:• •:•.:■•:••:•*•:••:••:•■:■•:••:• •:• ■:• •:■ ■:■ ■:• b b •:• •:■•:•••.■■:•■:• 

B B B B B B B B B B B B B B B B B B 

•l^^^<:-^ B B B B ■:• •:• ■:• ■:■ b-:b-:-:-:-:-:-:b-:- ■:■ :■ •:- b b •:• b bbb 

i : B B B B B .B B B ■:•■ : . B. f. 

. : .^. : .. : .. : ..-.,^. ; .. :i . : . , : . .;. .;, ,;, .;. , : . . : . 

. 'B -.• B B B B B B B B 

.;. BBBBB B B " 

B B B B B B 

B B B B B B 



I- ■*** * ■* iii & * 


1'BBBB •: 






\ :'' •■ :■ 


:■** 






5 : ? ; v ; 











** 






■■■ 
•:<• 

B 
B 
B 


**! 









BBB B B 

:•>:'■:•■?■:'■:• ■: 

: I 1 i- 1 t & 









j cr: 


. . . . 








Eil a. B3i .mi 

£! *■ *i *. !Sj . . ) 



The same arrangement of using alternately light and dark threads will produce on a fabric 
interlaced by weave 514 the effect shown in Fig. 5*5- 



a 

1 


•:■■:■ ■: 

>: 

■.■•:■■:••: 


B .B' B IP 
B B B • 
B B B • 


B B B 'B • 
B B B B ■ 
IE' IS IFS 'S 'S 
:B IK? IS BJ_ 


BBB 1 


y . ) : :( :': § ~ 


B B S' BH 
B B B B 
B B B BB 
B B B 
B B BBBB 












B BBBBBtB 

•: 


1 








BBBBBBBBB 


I 




■ 










■■■■ . : :•: :■:■ 


| 


■ B • 






.;..;.;.;. 




•: ■: ■:■■.■■:■■:■ 

B B B 

■: :• > b 
■:■ b •: b 
B ■:• B BB 










,E?BBBBBBfl?H 

•BBBBBBBBB 

■ 1 

■ BBBBBBBSa 

BBBBBBBSS 


1 
1 
1 








..;. X X X X / ...;. ; .;..;..; B 

•:• :• B •:• ■:■ -:• ■:■ i 
■:• b •:• •:■ •:• •:• •:• Bi-s-i'Sffl 

B B B B B B B B BBBEH 


ii 




B B .B . 


;•-• •.! B •.: 


•..* * 


"*' " v " 


31 IBJUmtJtOLJQLJ 



1 bb a a a a a a :a a 'a E , 
a bb e e a e a a e e a a 
ra a> 'a a ;a a a a : 
a a aa a a a a a a a bb ) 

a a dq a ;: a a a a bb a 
a a a bb a a a a. a bb e : 

a a a bb a .a :; a am a a 

E E E E BB 



oc 


3 3 3 ■■ '3 'BB 13 3 






3 3 3 ■■ ■■ 3 3 : 


: 3 


\[ :z ','- 


3 '3 3 m . 9B 3 3 3 


3 i 




3 3 Hffl! . B 3 .3 3 : 


; 3 


S\:]' 


3 3 BB BB 3 .3 ,3 3 

3 BB 3 .BB 3 .3 3_ 


3 

J 3 


S\\\ 


3 BB ,3 3 BB 3 3 3 






~BB 3 3 3 ;SB."!3_'3 


; 3 


e"s" 


BB 3 i3 3 3 BB 3 3 




:: ■■ 'j a sja >® ■■ a.. 


; 3 


□ ■■ 


3 3 3 3_ 3 3 BB 3 




■a 


3 '3 3 .3 3 .3. ,3 BB_J 


I 3 


19 .3 


3 3 3 3 3 3 .3 BB 


3/ 



Fig. 515. 



Fig. 514. 



The effect illustrated in Fig. 516 is produced upon a fabric which has the warp and filling 
(arranged 1 end light, or color No. 1, to alternate with 1 end dark, or color No. 2) interlaced 
with the broken twill weave Fig. 517. 



97 

The same arrangement of colors in warp and filling (i light, I dark) used upon weave 
Fig. 518 (broken twill) will produce design Fig. 519 for effect in the fabric. 



1 ■ K 


SB 


•:••: 


*•: 


»:■>: 




1 iS * 
8" B * 
ffi d- (E 
tl' H' ffl 








1 1 r 


* * 








|: :|: *" 


.....".• V 


•:• •[ 


















! : ''..•'' 


a 

B 


















1 ■:'•:■•:■■:• 

















Fig. 516. 



■ ■ aa :: a 



b :: a ■ ■ • 

e ■ ■ ■■ 

:: :: ■ ■■ 

::■■■■ 

a :: :: ■■ ■ 

1 :: l: aa a ■ 

Fig. 517. 





B B B 




■□ B B a 




B B B ; 




B B B 3 












ib a B a 








■ ■ ■ 






a a :: 


■ ■ ■ 








BB ' ■ ■ ■ 


1 is a v. 


B B a 






1 v. :: v. 


JCBDBCDBq 



Repeat 



Fin. 518. 

16-harness, 
16 picks. 



Fig. 520 illustrates the fancy color arrangement applied to a fancy twill. 
A, the weave, 8 harness and 8 picks repeat. 






■ B 



BB BB BE 

aa aa 

BBB BB 
BB BB 
BB BB 



:; MZ> 



BB 


IB 














BB 


• B 


a 




' 


■■ 


aa 












n: ). 
















■: ) . 








1 ■ 1 ■ 








1 : : 























BB II IBB: I IBB 



Fig. 519. 



Fig. 520. 



BBBBBB B 

Fig. 521. 



33 


r.~- 


- ; p 












'•'■'•■ " 












B IB 
B B 








":;;== d 










B 






1 








::;: 


;;;;:' 


■ ,. ;■ IB 



B, the arrangement of the warp, 2 threads light to alternate with 2 threads dark 

C, the arrangement of the filling, the same as the warp. 

D, the effect produced. 

A B 



l 


BB BB 
■ B BB 


A' 


b bb bbbb bbbb 

bb ■■:::::::: 

BB a B 




a 


b a a 




1 
n 




1 


L 






t 




BB 


C 




1 







■ 


I BB 


aa 


























Bl 


B 


























■ 
.. .. 


a 
a 


a 
■ a 


BB 1 

a a 


a 
a 






a 


BB I 


IB 






■ 


I BB 


Bl 




























ai 


B 











































[ BBBB 

BBBB 

I BBBB 

I BBBB 

f BBBB 



r 




r 


BB BBBBC 



CU^BB BBBB "BBBBBB "bb 

Fig. 522. 



:::::::: :::::::::::: :::: :::::::::::::::: :::: 

Fig. 523. 



Figs. 521, 522 and 523 illustrate three specimens of effect produced upon fabrics interlaced 
on granite-weaves. In each figure A represents the weave, B the dressing, C the arrange- 
ment of the filling, and D the effect produced. 



Single-Cloth Weaves for Fabrics of a Special Construction 
and Peculiar Character. 



HONEYCOMB-WEAVES. 



The Principle of Constructing Honeycomb-Weaves and the Peculiarities of Fabrics 

Interlaced with them. 

In these weaves squares are to be formed by floating (more or less) part of the warp and 
filling threads. These warp and filling threads will float on the face opposite to the back of the 
fabric ; also on the place where the longest floating warp and filling thread interweaves, will be 
formed a groove on the back of the fabric and vice versa on the face. Hence we get the peculiar 
appearance of the fabric known as honeycomb. The difficulty for the designer consists in so 
arranging the weave that when the warp floats on the face, the centre point of this float will form 
the centre point for the filling float on the opposite side of the fabric. And again, when the 
centre point of the filling float is taken into consideration on the face of the fabric and we put a 
needle straight through the fabric on the designated spot, the point of the needle will meet the 
centre of the warp float on the rear side of the fabric. 

Different methods are observed in designing these weaves. 

Honeycomb- Weaves Designed on Point Draws. 

■ and o Raisers; n Sinkers. 
Fig. 524 shows the plainest honeycomb-weave, executed on 8 warp-threads and 8 picks 
repeat, with the "point draw" for 5 -harness below it. 



i EiniBin ■■■■■■■ 







■■■ 


_. . 


Point Draw 




■ 


for 


■■■■■ 

■■■ 




5-harness. 


A 
Fig. 525 



Fig. 526. 

Fig. 525 illustrates the floating of the warp in above design, thread A A forming the centre 
of the float, which gradually decreases in the adjoining warp-threads. 

Fig. 526 illustrates the floating of the filling in design Fig. 524, pick B B forming the main 
float, which decreases in the adjoining picks. 

By these designs it appears that the warp float is two threads longer (7 picks) than the filling 
float (5 ends). 

Fig. 527 illustrates the honeycomb-weave, designed for 10 threads in each system. The main 
float in the warp covers 9 picks, and the filling float forms the square in the fabric with a pick 
floating over 7 ends. 

The point draw for this weave requires 6-harness. 

(98) 



Fig. 528 shows the honeycomb-weave, designed for 12 threads, warp and filling ways. The 
heaviest float in the warp covers 1 1 picks, and the greatest filling float covers 9 warp-threads. 
The point draw for this weave requires 7-harness. 

apnoHni s a ■QHnaQ 
a ■■■ a :: ■■■ a 

□ ■■■■■ :: □ ■■■■■ ;: , 

n ■■■■■■M n n ■■■■■■■ "i 

b"b _ b u^anana 

:: ■■■ :: b BBS :: i 

:: ■■■■■ :: :: ■■■■■ □ 

□ ■■■■■■■ :: ■■■■■■■ 1 

■■■■»■■«■ «■•■■■«■■ 



■■■■■■«■■■< ■■■■■■■■■■■ 















ra 

B ■ 

■ ■ 

a m 
a 
a 


■ ■■■!■■ :: :: iiiini :: 
■■•■■■■■ ■■■■■■■■■ 
■■■■■■■■■ ■■■■■■■■■■■ 
■■■■■■■■ ■■■■■•■■■ 

■ ■■■mi :: :: ■■■■■■■ :: 

j ■■■ :: a ■■■ :: 


a ■ a a ■ □ 


1 a a a .□ 



Fig. 527. 



Fig. 528. 



Fig. 529 is the honeycomb- weave designed for 14 ends in warp and filling, with a main float 
in the filling covering 1 1 warp-threads. 

Point draw for this weave requires 8-harness. 

Fig. 530 illustrates the honeycomb-weave for 16 ends, repeat in warp and filling, being about 
the largest arrangement of this weave used on a high texture. 



[ a b a 'B a a 

a aaa :: a ■■■ :: 



r :: ■■■■■■■ 



■■■■■■■■■■■■a ■■■■■■■■■■■■■ 



■■■■■■■■a 



■■■■■■■■a - 







BIB 

a ■■■ ,b 


a ■ ,□ " 
a ■■■ b 


i 


















:: aaaaaaa :: 






B ■ 

: ■■ 
»■ 

: ■■ 
B ■ 


•■■■■■■■a 
■■■■■■■■a 
■>■■■■*■« 

■■■■■■■■a 

£■■■*■■•• 

moiiaii 


:: aaaaaaaaa 
a aaaaaaaaaaa 
»« aaaaaaaaaaaa 
aaa 

■I B ■■■■•■■•■■■■ 

a :: :: ■:■■■■■■■■■ 

B aaaaaaaaa 


'b 

a 
aa 

a 








:: aaaaaaa : 










B ■•■■■ B 








BIB 


b ■■■ :: 

B ■ B 




















B ■ B 








B ■■■ B 








■*■■■■■ 


B ■■■■■ B 

:: aaaaaaa b 










:: aaaaaaaaa 






: ■■ 
»■ 
: ■■ 

B ■ 


■■■■■■■■a 
■•■■■•in 

aaaaaaaaa 

IMIIDIK 
■■•■ ■■■■ 


aa aaaaaaaaaaaa 
aaa aaaaaaaaaaaaa 

aa :: aaaaaaaaaaaa 
■ b :: ■■■■■•■■■■■ 

:: aaaaaaaaa 


aa 
a 

B 


















B ■■■■■ B 










B aaa B 




















B B . .. 





Fig. 529. 



■Fig. 53°- 



Main float of warp covers 15 picks, and main float of filling covers 13 warp-threads on the 
face of the fabric. 

Point draw requires 9-harness. 





-R-'Gn-a '"' 3 □ B B 
b aaa aaa 

■■■■I B B BBBBB B 

B B B B B a B a 

BBS BBB 

a a v. r. a r a 1 




B B B BBB! 
BBB BBB 
BBBBB BBBBB B 

mil iiiii 

BBB BBB 

BBB B B B 1 



B 


• 


) ■ . a B""'a 


B BBI 


■a 


BBBBB B ] 












1 aaaaaall 






a B BBBBB 




















:""" :- 






1 BBB'" 








B 




BBI 


■ aa 


B B BBB 1 
B BBBBB 










' a 


BBI 
Bl 


aa 

a 


B BBBBB 
B BBB 




1 






J 


a" \??>- 




1 




a o 





Fig. 531. 



Fig. 532. 



A second style of honeycomb-weaves is designed after the following method : Run on the 
designing paper, over the repeat of weave wanted, a check formed by a twill one thread up. 
This check must stand on one corner, each corner forming in this manner one of the point 



100 

harnesses for the weave. Next put into every other square (in a diagonal direction) the required 
warp float. Every square so alternated remains empty or may be further outlined by one row of 
twill (raisers). 



a a ■ c: a a a b .a a 
a a ■■■ a a a a ~" ' 
ana .:■■■■■ a a a 

i a a 

a a 

a a 

a a ■ 



a a ■■■ a a a a ■■■ a a 

- I ,H -flBflflfl._E 
a B1BIIIS 

_ ; a ■■■■■ ,E 
a a ana a a a __:■;__ 



i-_ .a a naa a a b..e a 

a a an a a a aaa a a 

a a bbbbb ,a a a .bbbbb a 



a a [ 

:: a 

a : 

a 



Fig. 533. 



DDBOHOBOa 

a bbb :: 

a a BBBBB 

a a ■■■■■■■ 

a ■■■■■■■■ 

a a ■■■•■■■ 

a a BBBBB 

a a bbb a 

o:.: L ..a a a a 



a a 
a a t: 
■B :a 



DDC 

DCC 

nnc._ 

ii . a 

a .! 

a a 

c; a 

a 

a a 

a 

a .. 

i a 

cncr - 

[ ZZC 
L ZZ 



a .a 



ai .a bbbbb a a 



a 



a 
. a a 

a a bbb a a \a a. bbb 
a a — 
a a 

a Baai ■■■■a a snuai 
a a bbbbbbb a :a :a bbbbbbb. a 
: a^a bbbbb a_a .a a bbbbb a. a 
a a bdb a a .: a a. bbb a. a . 
a ~ 

i '_ z 
I zz 
i :z 
1DDC 



Fig. 534- 



a - :: a h _ e 

a a bbb a e 

a a aaaaa a 

a bbbbbbb :: 

a sbbbbbbbb 

a :: bbbbbbb e 



a:'a _: -i 
i a a : 



a a a a .a a 
a a a a a a a a ■: 

j . a. a Baa" a a - 
: a a bbb a a a ■ 

a a bbbbb a a a r — 

a a .BBBBBBB E S E. 

..a HBBBBBBBe a a i 



a a 



. a a 



Fig. 535 



Figs. 531 and 532 are designed to illustrate this style of honeycomb-weaves. 

Fig. 531. Repeat: 12 ends warp and 12 picks. 

Point draw : 7-harness. 

Fig. 532. Repeat: 14 threads warp and 14 picks. 

Point draw : 8-harness. 

































a a a a a: a e ■_'..■ ...» 






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a a bbb a a bbb a a bbb b a bbb. a ■ a 
















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Fig. 536. 

We now pass to a third style of honeycomb-weaves, having a double line of twills for the 
main square. In this manner Figs. 533 and 534 are executed. 
Fig- 533 has for its repeat 12 warp-threads and 12 picks. 



101 

Fig. 534 has for repeat 14 warp-threads and 14 picks. 

These honeycomb-weaves have also the filling float sometimes outlined by one row of twill, 
as illustrated in design Fig. 535, which is taken in its foundation from Fig. 534. 

Figs. 536 and 537 illustrate fancy combinations of the honeycomb-weave for groundwork 
with point twills for the figure. 



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B BBBBB B ■■■• 



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a a :::: aa :: :: :: :: 
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B BBB a 

bbbbb :: 

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B BBB B 

a a a :: r.v. :::: ::c: 
a a :::: :: ca :; 

B BBB B B BBB B B BBB 

nmmrm a ■■■■■ ■ ■■■■■ 


B B 
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■ a 
a bb 


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a a 

BB 


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B BBB B B 
■ BBBBB a 


■ a a 

B B 
BBB 

BBB B B 
■BBBB B 

■ B B 
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BBB 
B a 

bbb a a 

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BBB 

B a 

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■ ■■■■ 

■ ■■■■ 
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■ fl a 
B B 

BBB B 

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B 


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B B 


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■ BBB 
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B 
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a 


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BBB B 
■ ■■■■ 


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B 


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Fig. 537. 



A fourth division of the honeycomb-weaves embraces those known as " star effects." 
The appearance of these weaves in the fabric is of a different character from those previously 
described. The effects produced by these weaves in the woven fabric are quite novel, and a 
careful study of the annexed designs will not only give a thorough understanding of their con- 
struction, but will greatly aid in developing new ideas for weaves in this line of fabrics. The 
point draw, which has been used to such a decided advantage in the first three divisions, is not 
used in this. 

Pigs- 538> 539 ar, d 540 are different weaves designed on this principle. 



102 



Fig- 53^- Repeat of pattern: 16-harness and 16 picks. 

Check A contains in its 8 ends repeat, a twill running in a direction from left to right, the 
twill line being formed by the warp upon filling ground. 

Check C is the same weave, warp and filling exchanged, and direction of twill reversed. 

Check B and D are bound in plain for forming the groove. 

Fig- 539- Repeat of pattern : 28 harness and 28 picks. This weave is an enlargement of 
the preceding one and explains itself. 



leranara a ddbbbb 



:: a a gbbebb 



la a □ a j 



a a a a a rrmiiiiii 

:: :: :: ■■■■■■■■ 

■■■■■■■ 

a □..□ a a a a ■■■■■■ 

a a a :: :: a ::■■ . .■■■■■ 

/>a a a a a a .a bub ■■«■ 

" a a a a a a aaaaB bbh 

a a a a a lanii .. -_~_. ■ ■ 

a a a a a a aaBiaaa ■ 

a a a a a a a bbbbbbb_ 

aOSBBBBBB 

a a a a a a a. bbbbbbbbb 

a a a a a ianaaaBEiiEBB 
a a a a a a a bbbbbekevbs 



La. a 
a a " 
: a :•: 

Bonn 

DDOD 
DDCO 

Bonn 
4' 
LOU 

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i-.a a ann^rBBMBMD 

a a as xbbbb ■ 

i a a a a hb bbb bb 

/.■a a a a aaaa unumm/- 

n , a a a a aaaa bbbb l 

IB I III 



.a"a 'a' 






■ 



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A\ » .■ 



a; ,□■.:□■ ' a j 
a 'a : a a 

a a :a a : 
- a:a a „ 
dqdb ,D 



;□ ,a„Qjaq 



Fig. 53S. 



Fig. 539- 



a a a a a 
-■ a a - 

a a 

~ _ a_.L 
a a 
,u; iu:_.a iarj 
a a a a a a 
..-_bde ;a_a..,a 1 

Fig. 540. 



Fig. 540. Repeat: 18 warp-threads and 18 picks. This weave contains in its principle, in 
check indicated by A, the X of a common twill filling face on 9 threads for each system. 
Check C contains the same arrangement except that the warp changes place with the filling. 
Checks B and D are interlaced plain for forming the groove. 

A fifth division of the honeycomb-weaves is created by forming squares with a certain 
number of warp and filling threads, floating (equal long floats for each thread in either system) 
regular distances. Figs. 541, 542, 543 and 544 are designed to illustrate this system. 

Fig. 541. Repeat: 12 warp-threads and 12 picks. Can be reduced to a 4-harness "section 
draw." 

Fig. 542. Repeat : 12 warp-threads and 12 picks. Can be reduced to a 4-harness " section 
draw." 



<■-, a a. 1 
t: a ai 
: a a 1 
a a ;- 
:: a 



a a c:bbbbbbb 

:: DBBBBBB 

::■■■■■•■ 



•r a a a - a' 

a a a ar™~: a 

a a a a - r - a 

Lia '□ 



a a a a 

a a' a 1 
a: a a' .□ 



ia .a .a a a a j 
Fig. 541. 



a a a a a :: 
a a :: a a a 
a a a 

a a a 
a a a 
a a a 
ia .a :a ,a_a a 1 

Fig. 542. 



.,ara r _ 

a"a"a" 
a a :: 



_ a ia 

"a"a 
:: :; 
a a 
- a a 1 
1 a .a a :: a a a 



SBaaaaa a 

bbbbbb a a a a 

a a 1 



i''H' a 






























: a a 










a a 


a a ■ 


IF 


■ BI 














a a 


: a ■ 


III 


■ BI 


■ 












a H- 


a a^B 


UQ 


■ BI 


■u 




"a 
a 




": 


"n 










a 


J. 


a i 





Fig. 543. 



Fig. 544. 



Fig- 543- Repeat: 14 warp-threads and 14 picks. Can be reduced to a 6-harness "section 
draw." 

Fig. 544. Repeat : 16 warp-threads and 16 picks. Can be reduced to a 5-harness " section 
draw." 

IMITATION GAUZE. 

These weaves are used for such fabrics as dress goods, curtains, ladies' aprons, canvas cloth, 
etc. In designing these weaves the end to be gained, is to have 3 to 4 warp-threads and also 3 to 4 
picks intersect each other very easily, while the next following warp and filling thread form a com- 
plete break from the one ahead, and so can be readily kept apart for some distance. In the warp 
these breaks are separated by the reed by leaving one, two, three or more dents empty. The 
threads required for a close working are drawn in one dent. To give a clear explanation of the 
matter, Figs. 545 to 553 have been designed. 



103 



-! 


-a a a a a a 
iaa aaa 

b a a a b a 
i a b a b a 

aaa aaa 
a a a a a 
■ ■■■■■ 

bb aaa . 
a a a b a ■ 




■■• BBB 




1 1 1 1 



Fig- 545 illustrates the 6-harness imitation plain gauze-weave; the j-qbd a a 
lines for the warp ( | ) indicate the break, and so the place in the /U,D "°" 
reed where one, two or three dents are to be left empty. Warp-threads, "SB .!. 
i, 2, 3 are drawn together in one dent, as also warp-threads 4, 5 abed 
and 6. FlG - 546. 

Examining the weave, filling-ways, the break appears between picks 3 — 4 and 
6 — 7, etc. Picks 1, 2, 3 intersect easily, and also in their turn after the break, picks 4, 5, 6, to be 
followed again by a break; picks 6 to 7 equal to 6 to 1. 

Fig. 546 represents a general analysis of the weave, which will at once convey an idea of 
the method of arrangement and operation. 



Fig. 545. 



(a to b, = 3 warp-threads for 1st dent. 
I b to c, = 



^ j 1/ iu c, — space for one (or two or more) empty dents. 

*« \ c to d, = 3 warp-threads for the 3d dent (or 4th, 5th, etc.). 



a) leave space (empty dents) equal to the one left 

f 



I From d to repeat of weave again ( 
(_ from b to c. 

f a to e , = 3 picks for close work. 
! e to /, = space for open work, equal to b, c in warp. 
•S ■ f to g, = 3 picks for close work. 

l_ From g to repeat of weave again (= a) leave space equal to the one left from e to/. 



fes 




bb a ■ ■■ ■ ~ a 



BBBB 

a ■■ 



Fig. 548. 



V BB 

BBBB 
.BBBB 
/ BB 



Fig. 549. 



Fig. 547 illustrates the enlargement of a fabric produced on weave Fig. 545, under the pre- 
viously explained rules. As this figure cannot help but to explain itself, we will consider the 
imitation gauze-weave, produced upon 8-harness and 8 picks repeat, which is shown in Fig. 548. 

The lines for the warp ( | ) indicate operations as explained by Fig. 545, the break, hence 
the place for one, two or more empty dents, so as to form the open work in the warp. Warp- 
threads 1, 2, 3 and 4 are drawn together in one dent, also warp-threads 5, 6, 7 and 8, etc. In 
the filling the break appears between picks 4 — 5 and 8 — 9, equal 8 — 1. 

Fig. 549 represents the analysis of the weave with regard to appearance in the fabric. 

Warp. — a to b, 4 warp-threads drawn in one dent, b to c, for one empty dent (or two 
or more), f to d , 4 warp-threads drawn again in one dent. From d to repeat of weave (= a) 
leave the same number of empty dents as left from b to c. 

Filling. — a to e, 4 picks, close work, e to /, space for open work, equal to b to c, and d to 
a, in warp. / to g, 4 picks, close work. From g to repeat of weave again (= d) leave space 
equal to the one left from e to/. 



104 



Fig. 550 illustrates the enlargement of a fabric produced on weave Fig. 548, under the 
rules already mentioned-. 

Figured Imitation Gauze. 

The first step for figuring imitation gauzes 
is to produce stripes of the same in connection 
with part of the fabric woven in the common 
manner. With regard to wear, imitation gauzes 
will be less durable than real gauze; yet as to 
■ A C E 

Plain Ground 




Fig. 550. 



Fig. 551. 

general appearance, very novel designs are pro- 
duced in the former. Fig. 551 illustrates the 
weave for such a combination of common, plain 
and imitation gauze forming stripes. A is the 
common plain interlacing part, B the close- 
reeded part, B to C and C to D forming open work (separated by thread C). D is the close-reeded 
part, D to E and E to F forming open work (separated by thread E ). F close-reeded part. Repeat 
of weave: 32 warp-threads and 12 picks. 

The second movement in figuring is the 
forming of checks. 

Fig. 552 illustrates such a design, forming 
in the fabric checks interlaced on the common 



: 
a 

: 
a 

:: 
a 


:: a 

:: : 




a a 

.: :; :: 

a a 








a :; 



a a_a a a 
1 e :a: a a a 
n a.:a a a 

:: a a a :: 
a a_:a a a 



.BBS 

a e c 
a a 



BB 

a 


B 1 


BBS B 

a a a 


BB . 1 
BBC 


■ 


BBI 

a a 


I BBS 

■ :■ ■ a 


- BBB 
M B 



m a f> b a 



: a a a 
a a a i 
: a a a 
:: :: a i 
: a a a 
_ a a .3] 
a :; a a a a 









. a i 
a a 

"a"a"a"a"a"a"a"a 
a a a a a a a a a 
■ ■■ .: a a :: a a a a a 
jUUij. a_.ai.a .a_a ...a .;a_.a...a 

Fig. 552. 




plain weave to alternate with checks produced 
by imitation gauze; 36 warp-threads and 36 
picks forming the repeat. Reeding: 3 threads 
in one dent, 2 dents empty, and over again. 

Diagram Fig. 553 illustrates the plan of FlG - 553- 

the fabric woven with weave Fig. 552. This method of combining the plain weave and imitation 
gauze for forming figures can also be applied to ornamental or floral designs. 



Combination of Weaves for Fabrics Constructed with One 
System of Warp and Two Systems of Filling. 

The object in designing these weaves is twofold — either to produce additional bulk to a purely 
single-cloth fabric, or to produce figuring otherwise impossible to be obtained on purely single 
cloth. 

Combining Two Systems of Filling with One Kind of Warp, for increasing the Bulk. 

As seen by the above heading, two systems (or kinds) of filling are essential to the con- 
struction of these fabrics. One filling (the face filling) forms with one system of the warp the 
face of the fabric, while the other filling (the backing) forms, by an additional interlacing in the 
warp before mentioned, the back of the fabric. The latter filling is solely applied to the single 
cloth, as mentioned, for the purpose of increasing the thickness, and might properly be considered 
only as a lining. To increase the thickness of a fabric in this manner is of great advantage to 
the manufacturer, and is thus used very extensively in the manufacture of "heavy-weight" 
woolens, etc. The weave employed for the face of the fabric (interlacing the warp and the face 
filling) is generally of a more artistic construction than the weave used for interlacing the backing 
into the above-mentioned fabric. 

It will readily appear that the warp-threads in these fabrics must resist to a certain extent 
more strain than the filling, and for this reason should be composed of a better stock, in addition 
to a harder twist. The backing must contain only a small amount of twist, so that the bulk of 
the thread (without considering its additional heavier size) will always be larger than the harder- 
twisted face-filling or the warp. The "soft" twist in the backing will also produce a soft hand- 
ling fabric. Among the materials for producing a proper backing, which may be used with 
advantage in addition to wool, are the cheaper articles, such as shoddy, mungo, card-waste, roving- 
waste, etc. 

In constructing the weaves, we must first deal with the face-weave (interlacing warp and face 
filling), and this in a manner independent of any additional backing; as it applies to any 
weave for single cloth. 

The backing must only form an addition, separately introduced into the face fabric and for 
purpose originally intended, unless a special effect, such as " tricot," etc., is required. 

The most frequently used proportions for backing to face filling are : One pick face to alter- 
nate with one pick back and two picks face to alternate with one pick back. Seldom do we find 3 
picks face to alternate with 1 pick back ; or irregularly, as 2 picks face, I pick back, I pick face, 
I pick back, 5 picks in repeat, etc., etc. 

In using the arrangement "one face pick to alternate with one backing" be careful to use a 
size of the latter not much heavier (if any at all) than the former. If using a backing of a too 
heavy size, it will influence the closeness of the face filling and produce an " open face, " appear- 
ance in the fabric. 

As mentioned before, the backing should be of no consideration in the construction of the 
single cloth, and this with respect to its weave as well as to its texture, i. c, the same number of 
picks required in a single-cloth fabric must be retained for face picks if a fabric containing face 
and back filling is constructed. Thus, for example : A fabric on the single-cloth system requiring 
44 picks per inch will require, if arranged in its filling " 1 pick face to alternate with 1 pick back," 
88 picks per inch. Again, if 2 picks face are to alternate with I pick back, use 66 picks per 
inch, etc., etc. 

(105) 



106 



In both examples 
remain undisturbed. 



riven, we suppose the size (z. e., thickness) of the warp and face filling to 



Rules to be Observed in Designing these Weaves. 

The weave for the back filling must be selected without disturbing the face. The back 
filling in its method of interlacing must pass readily underneath the face pick previously inter- 
woven; also, allow the next succeeding face pick to cover any part not covered by the previously 
interwoven face pick. 

To produce this result the warp-threads used for binding the back filling must be in the 
lower shed, in the face pick preceding the backing as well as the one following it. 

Another point, which properly comes under the present rules, but which has been treated to 
a certain extent before, is, to arrange regular transpositions of face and back picks. 

If the face-weave contains a far-floating filling, the binding of the backing into the warp- 
threads should be arranged as nearly as possible in the centre of this float. 

To produce good work, and perfect cloth, every warp-thread should be used in rotation 
according to the weave for binding the back; because, if some warp-threads should be omitted, 
they will get less tension through weaving, and give trouble. A bad shed will result, etc., with a 
possibility of spoiling the fabric. If we should be obliged to omit some of the warp-threads 
from the binding in the back, we must be careful to arrange those used in a regular and well- 
distributed manner. 

Among points worth considering in the manufacture of the present kind of fabrics we note: 
If the weave (or system) for interlacing the backing to the warp is of a short repeat, that is, no 
large floats of the backing, we must use a soft-twisted back filling. Should we use a very hard- 
twisted yarn, the possibilities are that the backing will "show through" on the face. 

To use a backing with the least possible twist (yet sufficiently so to avoid "tender" goods) 
will also be of advantage during the finishing process, as most fabrics to which the present sys- 
tem of weaves applies require a soft well-covered back. 

■ ■■ "_■ ■ 

□ BBHHQQ 

■ ■ ■■ 

:::::::::::::: 



-as □□□ a 
. ■ : ■ 
□ ,□□□ sa 
l ■ ■ 

as:; ;x::: 

i :■ i :■ . ] 
[■;□[■: c:aa 



Fig. 554. 




:;:;:■::::::::■: 
am mma 1 



SB ' ■■ 

esse aaa 



Baa aaaa 



Fig. 556. 



Care must also be exercised in selecting the material for the backing with due consideration 
of the proportional amount of binding. 

The heavier in size the backing is, the earlier will imperfections appear. 

We will next consider a few of the most frequently used combinations of weaves for these 
fabrics. 

Let us first consider the weave Fig. 554. The arrangement to be observed in combining 
face and back filling is to take one of each system alternately. For the face-weave (picks, 1, 3, 

5, 7) select the 4-harness 3 twill (see ■ type). The interlacing of the back filling arrange with 

the '- j 4-harness twill (see ° type). Repeat of complete weave: 4 warp-threads and 8 picks. 

For a proper understanding of the present weaves, two different characters of type are used, 
one for indicating the face filling (■) and one for indicating the backing (0). 

Diagram Fig. 555 illustrates the section cut of a fabric interlaced on weave Fig. 554. 

Weave Fig. 556 shows the 4-harness even-sided twill arranged for "backing cloth." For 
the intersecting of the backing the 8-harness j twill is used. Thus one repeat of the inter- 
lacing of the backing equals two complete repeats of the face-weave. 



107 



Fig. 557 illustrates the section of a fabric interlaced with weave Fig. 556. The back 

stitches onto the regular 8-harness ~- i twill, as mentioned before, and, in consequence, runs its 

points of interlacing to the face in one twill line of the latter, leaving the second undisturbed. 
This, in turn, shows every alternate twill line on the face of the fabric (into which the backing 
binds) more prominently than the other. To prevent this, it is advisable to use the weave shown 
in Fig. 558, being the same face as previously used, except having the 8-harness satin applied for 
interlacing" the backing. 



o o 

1 ^^c ^!v mjjjjgg 



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© ©#© ©\© ®j^Vo 



1 



Fig. 557. 



IOHHQBHB a 

■ ■■ ■ 

□ ;::aaaa 
■■ ■■ 
aaaa aaa 
■■ ■■ ] 
aaaaaaa 
■■ ■■ 
aa aaaaa 

■ ■■ ■ 
aaaaa aa 

■■ ■■ 
aaaaaaa 

'■■:■■) 

aaa aaaa 

ininiQa 

Fig. 558. 



The latter weave combines face and back by alternately exchanging the points of interlacing 
from one twill line of the face to the other; thus in one repeat of the complete weave it has four 
points of interlacing in each twill line of the face. This method of arranging a weave produces 
a smooth face, one twill line showing as prominently as the other over the entire surface of the fabric. 

F'g- 559- Repeat: 12 warp-threads and 24 picks. Face-weave: - 3 6-harness twill. 

Weave for interlacing the backing: 12-harness satin. This weave, like weave Fig. 558, produces 
a smooth face. 

An illustration of a fancy twill, arranged for backing, is given in weaves Figs. 560 and 561. 

Fig. 560 represents the face-weave. Repeat: 16 warp-threads and 16 picks. 

Fig. 561 illustrates this face-weave arranged for a backing cloth, one pick face to alternate with 
one pick back. Repeat: 16 warp-threads and 32 picks. The weave used for interlacing the backing 
to the face-fabric is the - — , — ^—-. 1 6-harness twill. 



'-aaa iBt;::::::;;:::::; :: 
■■ ■ ■■: !■■ ■ ■ 
aa aaaaaaaaaa aa 
■ ■ ■■■ ■ ■■ 
:; aaaaaaaaaa aaa 



: -n aaa ar.ii aaaaaa 






aa 



aaaaaaaaaa aa 
■■ „,,■■■ ,■ 

■"„"■■■"""■■ 

ABiT] ''■■« 

■ ■■"^'■■ii*',,'' 



Fig. 559. 



■ ■■_■■■ ,.■■■ 



1 

aaaa 

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aaa aau aaaaaa a 
ia ii . ■■,. ■■,. 

:::::::: :::::jc:c:k :::;□ 

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:: :::::::::::::: ::s:: aa 

■ ■■ ■ ■ ■■ ■ 
:::: :::::::::::::: :::::: a 



■ ■ 


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i ■■ ■■"■ 
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:::::::: aa 



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Fig. 560. 



Fig. 561. 



Fig. 562. 



Fig. 563. 



Fig. 562 illustrates an entwining twill. Repeat: 16 warp-threads and 16 picks. This twill 
is illustrated as applied for backing in weave Fig. 563, one pick face to alternate with one pick back. 

In applying backing to similar "entwining-twills," as also to "broken-twills," be careful to 
arrange the same so as to have the points of interlacing follow the twill lines in the face-weave 
running in the direction from left to right, as well as from right to left. 

Granite-weaves constructed from the satins are well adapted for the application of a backing. 
In this case the satin which was used in the construction of the face will be the weave required 
for the backing. 

For example, see weaves Figs. 564 and 565. 



108 



Fig. 564 illustrates a common granite- weave, which is shown with a backing applied in Fig. 565. 
Weave Fig. 564 (single weave). Repeat: 8 warp-threads and 8 picks. 

Fig- S^S, the previous weave with a backing applied. Repeat: 8 warp-threads and 16 picks. 
Fig. 566. Diagram of the section cut of a fabric interlaced on weave Fig. 565. a = face 
filling; b, backing. 





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Fig. 564. 



Fig. 565. 



Fig. 566. 



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In fabrics in which the arrangement of one face pick to alternate with a backing will pro- 
duce too heavy a cloth — in fabrics in which the arrangement of combining the backing to the 
face-weave cannot be properly effected, and in fabrics in which it is desired to have used a much 
heavier size of yarn for the backing than is used for the face filling, the arrangement just given 
cannot be followed. It must be changed to 2 picks face and 1 pick back. 

This proportion of face and back is very extensively used in the manufacture of woolen fabrics. 

Producing the backing of a heavier size will (taken in the average) allow of a cheaper mate- 
rial (waste) being used. It also tends to a greater production of cloth by using less picks per 
inch; a larger quantity of roving per set of cards in a given time, more pounds of yarn per 
spindle, etc., etc. Another point much in favor of the present designated proportion of face and 
back filling is the advantage of getting a full face with less picks per inch than by using the 
proportion of one pick face to alternate with one pick back. 

Weave Fig. 567 illustrates the combination of the ^ g 6-harness twill with the 5 twill, 

but using only every other warp-thread. Repeat: 12 warp-threads and 18 picks. 

If the proportion of one face pick to one back pick produces a cloth too heavy, and the 
two face picks to alternate with one back pick produces a cloth too light, or should the size of the 
backing yarn be too heavy for one face and one back, or too fine for two face 
and one back, we must use the average of both; thus — 

2 picks face, 
1 pick back, 
1 pick face, 
1 pick back, 

5 picks in repeat. 

Should a fabric require a proportional arrangement, of less weight than that produced by 
2 face I back, use 3 picks face to alternate with 1 pick back, etc., etc. 

Combining Two Systems of Filling with One Kind of Warp for Figuring with Extra 
Filling upon the Face of the Fabric. 

In these weaves the extra filling is brought at certain intervals upon the face of the fabric for 
forming additional fancy effects. In woolen and worsted fabrics, for men's wear, these effects are 
"■"■ b"™ generally limited to stripes and checks, whereas if used for dress goods they are 
often of a very elaborate design. 

Weave Fig. 568 represents a stripe effect, produced by an extra filling (back 
filling) introduced after four successive ground (face) picks, a face picks (ground), 
Fig. 568. a figure picks (back). The weave employed for the ground fabric is the common 
4-harness twill s . Repeat: 12 warp-threads and 5 picks, e and ■ for raisers, □ for sinkers. 



'-ebb e 
■■:: — 
m 

.J BE" 

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eeeeeeeeee 

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■ 

J BE" 

Lj ■ 



■ 

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Fig. 567. 



be" b 

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109 

Design Fig. 569 illustrates the figuring with an extra filling for forming a small spot figure. 

•o-^a H^n^g^-ya^a^a^a^q^a^p^qjqi This extra filling is similar (except 'the floating, which is more 

"::;;::"::;;::;;::"::;;::;':OC : C :: )' :; )' :: "-C. : \J ;] extended) to the previously illustrated example of floating on 

^\rir:i\rpiy\r-:]y\rs\^y^.r the back of the fabric and is interlaced with the face fabric in a 

■■£■■■■■■■■■■■■■■■■..■..''.,■..■■■■■■■ manner to produce the desired effect; in the present instance 

.^..^aa.^.l.l.^Y" :: "''VgllS producing small spots. This extra filling, floating to a great 

■■■^■■■■■■■■■■■■^ii,, ".,"„",,", .■ ■■■ extent on the back of the fabric, is generally removed by cutting 

"5™a"a a a ::":;""" j off those floats around the place where they interlace with the 

■■■■■.. ■, .''..a. .■■■■••■ face fabric. 

"a;;a"a;vV;a;Ja;;a;;a;;a';a;'a;v^a"a Another style of fabric which is constructed on this system 

a;;a"a^a"a^a^a"::"a;;a;;a"a"a"a"a^aj of weaves are union fabrics, comprising- certain kinds of shawls, 

Chinchilla and Ratin; overcoatings etc. 

¥a"a"'aVa'a B a S a a a B a a a"a¥a"a In weaves for this description of fabrics the interlacing of 

■aoaaaaBaaaaaBaaaaaaa 1 ° 

■■■■■■■■■■■■■■■■■a the face filling with the warp is the same as the one used for 

' interlacing the backing. The warp, which is in most cases of 

■■■■■■■>iiB|i>a'iiBiiaa cotton, rests imbedded between the two kinds of filling. 

i"":'l: a"'™"""™"™"""™" Fig. 570 illustrates the combination of the 5-harness satin 

Fig. 5 6 9- filling up for face and the 5-harness satin warp up for back; 

thus the same weave will form the face and back. Repeat: 5-harness and 10 picks. 

Fig. 571 represents a like combination of the 8-harness satin filling up for face, warp up for 
back. Repeat: 8-harness and 16 picks. 



a a a a 

a 
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aa a 









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. 


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Fig. 571. 



aaaa aaaa 1 
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a """a "'" 
a r _ a ] 

'a ;::"a " : 

a a 

aaa aaaa a 

a a 

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Fig. 572. 



Fig. 572 illustrates the 5-harness satin filling up for face and the same weave, warp up, for 
back. Arrangement for exchanging face and back filling is 2 picks face, 1 pick back. Repeat: 
5 warp-threads and 15 picks. 

Swivel- Weaving. 



For fabrics in which the figures are produced with an extra filling and these figures, as seen 
on the face, are far apart, as in figured dress goods, ribbons, etc., these figures are produced 
upon the ground structure of the fabric by using a loom having a "swivel lay" attached. 

The object of "swivel-weaving" is to save material in fabrics having small figures for the 
design, and to give to such figures a more prominent appearance in the fabric than can be pro- 
duced by the common method of weaving by floating the filling on the back when not required 
for figuring on the face. There is a further 

advantage in the designing, for no disturb- r / ( ^^-? 

ance of the design is necessary. »* /^-.A^nn^AAAaA^-y , -:;.:— -^-i * 

Again, in cases where, in the ordinary 

process of weaving, the figure-filling would 

show through on the face, and thus must 

be cut off, this method of weaving omits 

1 Fig. 573. 

the cutting away of the loose filling on the 

back; and in this case the swivel arrangement contributes to the strength of the fabric. 




110 



Fig. 573 is an illustration of a swivel fitted in a movable frame to be attached to the regular 
batten of a loom. 

The method of weaving fabrics figured by the swivel arrangement is as follows : After the 
common shuttle carrying the ground filling 
is interwoven, a separate shed of the warp is 
opened for the introduction of the swivel 
shuttles (instead of passing a common shuttle 
all the way across the loom) carrying the fill- 
ing which has to form the figures on the fabric 
at intervals of two or more inches. Each 
figure in the fabric is formed by its own shuttle 
(filling); hence it is apparent that by the swivel 
arrangement we can have different colors in 
the same shed across the fabric. In using a 
fly-shuttle in common weaving the filling from 
the latter has to be used in every figure, whereas by the swivel method every figure may have 
its own color. 

The swivel is used to the best advantage in the production of small spot figures. 

In Figs. 574 and 575 such effects are shown. 

As the shuttles of the " swivel " are all of a given size, and are arranged in certain distances, 
they require the design to be arranged accordingly. By examining Figs. 574 and 575 we find 
the distances between the figures to outmeasure completely the spaces occupied by the figures 
themselves, which point it is necessary as a standard ride to keep steadily under consideration in de- 
signing. One and three-quarter inches is about the smallest width of the shuttle, thus two inches 
is the smallest distance possible to be used by a shuttle of such a size ; but generally a wider 



* 


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> 


>• 




>^ 


> 


V 


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it 




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Fig. 574. 








Fig. 576. 



Fig. 575. 



distance between the figures is allowed so as to get a more perfect fabric. The general rule to 
be observed in designing for these fabrics is to have the distance between the figures about thrice 
as wide as the space occupied by the figure itself. 

In these designs the ground filling forms the general design for a ground or all-over effect, 



Ill 

while the filling introduced by the swivel shuttles only contributes to the coloring up of par- 
ticular effects. 

Circular swivels are used for fabrics where very close-set figures are required. These swivels 
are specially constructed for these effects. 

Combination of the Swivel Effect with Figuring through the Warp. 

In some fabrics (but only where the most exquisite designs, richness and fineness of material 
are employed) this method is applied, hence we have to use the following four distinct systems of 
threads in producing the fabric : 

1st. One kind of warp to form a general ground fabric with 

2d. The regular ground filling ; 

3d. One kind of warp to produce, on the two systems mentioned, the foundation parts of a 
design, into which the filling from the 

4th, swivel shuttles forms the figure spots. 

Fig. 576 is executed on this method. In this we find the white grounds for systems 1 and 2. 
The stems, leaves and buds, only outlined in design for system 3, whereas the two shaded 
flowers have to be produced through system 4, or the swivel shuttle. Design Fig. 576, illustrat- 




ive. 577. 

ing only one effect, has to be arranged for practical use according to the fabric for which it is 
required. 

Another combination of the swivel arrangement with figures produced with the common 
shuttle, but of a yet more complicated nature, is procured by combining systems of threads as 
follows : 

1st system: ground warp. 

2d " ground filling (common shuttle). 

3d " figure warp. 

4th " figure filling (common shuttle). 

5 th " the filling from the swivel shuttle. 



Swivel Loom. 

The foregoing explanation of the theory of swivel weaving requires in practice a loom which 
must be capable of two different movements — namely, the plain or fly-shuttle movement, and the 
swivel and plain weaving movements combined — to produce the figure or pattern in the body of 
the fabric while the latter is being woven. 

For illustrating the method of operation in such a loom diagrams Figs. 577 to 580, represent- 
ing the J. Wadsworth swivel loom, are given, similar letters referring to like parts in each figure. 



112 

The before-mentioned two movements are carried on in the following manner: First, the 
loom having been adjusted for plain weaving, the cam-shaft C is in the position shown in Fig. 
577, which illustrates a view of part of the loom, partly broken out, looking down upon the same. 
As the cam-shaft revolves the roller projections s i £ at the right-hand end of said shaft, and the 
similar projections, z' z 2 , at the other end of the cam-shaft, alternately depress the treadles 1 1, 
which in turn operate the picker-sticks J s, to throw the fly or body shuttle back and forth across 
the loom, as in ordinary weaving. The rollers z' , z 2 , z 3 and z 4 must be so placed in relation to 




Fig. 578. 

each other that they will act alternately, first operating the picker-stick at one side of the loom 
and then the picker-stick at the other side of the loom, and so on. The fly-shuttle is thereby 
caused to pass across the loom four times during one revolution of the shaft C. This is the 
plain-weaving motion of the loom producing the body of the fabric, and is the first motion referred 
to above. The next operation is the introduction of the swivel-shuttles for the purpose- of weav- 
ing figures or patterns. This is accomplished by shifting the shaft C with its attached cams and 
rollers along the line of its horizontal axis from right to left, so that it will occupy the position 
shown in Fig. 578. The harness and other portions of the loom not essential to a full under- 
standing by the student are omitted from the drawings. By the shifting of the cam-shaft a new 
set of cams and levers is brought into action, and the operation of certain of the devices which 
were in action before the shifting of the shaft is arrested, while a portion of the devices which 
were in action before the shifting of the shaft remains in action after the shaft has been shifted. 




Fig. 579. 

The new cams and levers thus brought into play, acting in connection with the devices which 
remain in operation after the shifting of the shaft, as stated, give the second movement 
previously mentioned — namely, the combined plain and swivel movement. 

In diagram Fig. 579 the front view of the loom is illustrated, in which a portion of the plate 
at the left-hand end of the loom is cut away to enable the rollers z' z 2 the more readily to skip 
or miss the treadle. In place of the shots of the fly-shuttle, the swivel-shuttles are called into 
action by means of the second change effected by the shifting of the cam-shaft — namely, that by 
which the arms b b, with their attached rollers d d' , are caused to operate the treadles a a and to 



118 

give to the rack E, containing the swivel-shuttles D D D the necessary downward motion, and 
by which at the same time the cam/, through its connections K L J, is caused to drive the swivel- 
shuttles horizontally to weave the desired figure or pattern. The action of the fly-shuttle must 
alternate with that of the swivel-shuttle. The operation then is as follows, reference being had 
to Figs. 578 and 579. As the cam-shaft C revolves the roller z i depresses the treadle to operate 
the picker-stick, thus throwing the fly-shuttle from right to left. During the next quarter-turn 
of the shaft the roller z' would operate the picker-stick at the left side of the loom to return the 
fly-shuttle were it not that by the shifting of the cam-shaft this roller is thrown out of gear. In 
its stead, the rollers d d, attached to the arms b b, are brought into contact with the treadles a a t 
and, depressing the same, pull downward the rods i i (against springs 7 x y x , arranged around the 
same), and the attached rack E, containing the swivel-shuttles V V V, is thus brought into posi- 
tion for the working of the swivel-shuttles with the warp. Almost simultaneously with this 
downward movement the swivel-shuttles are driven longitudinally from right to left by means of 
the cam/, acting in connection with the levers A'and Z, rod/, and the rack-and-pinion mechanism. 
By referring to Figs. 579 and 580 it will be seen that on the outer edge of the wheel / and 
extending half-way around the circumference of the disk, is a collar, e, having its ends beveled. 
As the shaft C revolves, carrying with it the cam/ the roller £", which is attached to the lever K, 
coming into contact with the collar e, is thrown outward, carrying with it the lever K, which in 
turn operates the vertical lever L, moving on the pivot «. To the free end of the lever L is 
attached the rod/. Rod /is connected with rack-bar F 2 , see Fig. 573, which rack-bar is sup- 




Fig. 5S0. 

ported in the rack E, and is in engagement with pinions V, which in turn engage teeth V 3 upon 
the swivel-shuttles V V V. As the lever K is thrown from right to left, the swivel-shuttles are 
driven in the same direction. This longitudinal motion occurs almost simultaneously with the 
up-and-down movement mentioned before. The roller £■ is kept in close contact with the cam/ 
by means of the spring/ and is prevented from being operated by the cam when the cam-shaft 
has been shifted for plain weaving by the stop k. (Shown in Figs. 578 and 580.) By the time 
this double motion has been accomplished the shaft has made another quarter-turn, the rollers 
d dhave released the treadles a a, and the springs around the rods //throw upward the rack E 
and the shuttles V V, to remove the same from the working level and allow the fly-shuttle to pass 
without interference. The cam-shaft having now entered upon the third quarter of its revolution, 
the roller z depresses the treadle t on the left-hand side, thereby operating the picker-stick s to 
throw the fly-shuttle back again across the loom from left to right, the roller z z at the other end 
of the shaft at the same time passing inside the corresponding treadle t without operating it. 
The cam-shaft now begins the last quarter of its revolution- The roller s' 2 misses the treadle t on 
the left-hand side, as before explained. The rollers d' d' depress the treadles a a for the purposes 
before described, and the roller^, having traversed the collar e, leaves the same and is thrown to 
the right by the spring/ thereby, by means of its attached levers and rod, causing the swivel- 
shuttles to make a shot from left to right. This completes one revolution of the cam-shaft, and 
the operation is repeated as often as may be desired for the weaving of the figure or pattern. 
When it is desired to return to the plain weaving, the shaft C is shifted back again from left to 
right, and the action of the loom is then the same as that first described. 



Combination of Weaves for Fabrics Constructed with 
Systems of Warp and One System of Filling. 



Two 



Weaves for this division of fabrics are obtained by the combination of two (or more) founda- 
tion or derivative weaves. They are designed for three purposes. 

ist. For using two systems of warp and one system of filling in producing double-faced 
fabrics, such as ribbons, etc., etc. 

_ 2d. For using an extra warp as backing for heavy-weight worsted and woolen fabrics. 

3d. For figuring with an extra warp upon the face of a fabric otherwise interlaced with its 
own filling and warp. 

Two Systems of Warp and One System of Filling for Producing Double-faced Fabrics. 

These weaves are largely used in the manufacture of ribbons and similar fabrics used for 
trimmings, in which one side of the fabric has to be of a totally different color from the other. 
Such fabrics (mostly of silk) require a great many ends in the warp, as only one-half or two- 
thirds will form one side of the fabric ; the remaining half or one-third forming the other. In 
addition to the difference in color for each side we can also change the quality of the stock, or 
the nature of the stock itself; hence we may use a finer quality of stock for one side (the face), 
and a lower quality of stock for the other (the back) ; and again we may use silk for one side 
(the face) and cotton for the other (the back). 

In selecting weaves for these fabrics, we generally use the combination of a regular satin 
weave, warp for face, with its corresponding satin-weave, filling for face. Technically we classify 
the warp which shows on the upper side of the fabric as the " face-warp," and its mate, or the 
warp forming the lower side of the fabric, as the " back-warp." As mentioned at the beginning, 
only one system of filling is used for interlacing both systems of warps. 

In combining both warps into one fabric in this way, it is necessary to observe the following 
Rule : The raising of the backing warp over the filling must ahvays be done at a place in which 
two face-threads raise next to it (one on each side of the backing warp as raised). Diagram 
Fig. 581 is designed to illustrate this method. Three warp-threads and four picks are 
represented. 

Warp-threads 1 and 3 illustrate the face warp ; warp-thread 2 represents 
the back-warp. 

In examining the latter warp-thread, we find its point of interlacing 
with the filling situated in pick 2. 

Face warp-threads 1 and 3 are also raised on pick 2, as required by the 
rule (given before) for combining both systems of warps. A careful exami- 
nation of the diagram will show a second point possible for perfectly inter- 
secting the back warp-thread (number 2) into the filling at pick number 3. 
Picks 1 or 4, if used, would produce imperfectly stitched places, as in the 
first-mentioned spot face warp-thread 3 is down, and in the latter-mentioned 
spot face warp-thread 1 is down. To give an illustration of these weaves Fig. 581. 

Figs. 582, 583 and 584 have been designed. 

Weave Fig. 582, repeat : 8 warp-threads and 4 picks, has for its foundation the combination 
of the 4-harness broken-twill, warp up {ox face (■), and the 4-harness broken-twill, filling up for 
back (□). The arrangement of the warp for face and back in this weave and weaves Figs. 583 
and 584, is one end face to alternate with one end back. 

(114) 



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a 

a 

-a 

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■ 


4th pick. 


u 




B 


3d pick. 


m 


e 


B 


2d pick. 


■ 




1 ist pick. 



115 

Weave Fig. 583, repeat: 10 warp-threads and 5 picks, has for its foundation the combi- 
nation of the 5-harness satin, warp up, for face (■), and the 5-harness satin, filling up, for 
back (a). 





~m 


JDDBHBDBa 






■::■ 1 






















IB 




■ ::■ 




:■ 


• 


■ 


:■ 


■ 


■ ■ 




■ 


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■ 


■::■ 


■ 


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■ ::n ■ ■ 


a 
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: 


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i 



Fig. 5S2. Fig. 583. Fig. 584. 

Weave Fig. 584, repeat: 16 warp-threads and 8 picks, has for its foundation the combi- 
nation of the 8-harness satin, warp up for face (■), and the 8-harness satin, filling up for 
back (a). 

In the same manner as these three examples of weaves are arranged for explaining the 
present system other combinations of satins or twills can be designed. 

Using an Extra Warp for Backing for Heavy-weight Worsted and Woolen Fabrics. 

These weaves are used to obtain a thickness of the fabric by using a lower stock for the 
back, as, for example, a wool back for worsted goods. 

They may be designed with one of the following arrangements for the warp: 
1 end face. 2 ends face. 1 end face. 

1 end back. 1 end back. 1 end back. 
- - 2 ends face, 

2 ends repeat, or 3 ends repeat, or 1 end back. 

5 ends repeat, 
or any other similar arrangement. 

In stitching the back warp to the face fabric it is necessary to observe the following 
points : 

1st. The backing-warp has to be raised over the filling, in every instance, between two face- 
ends, so that the face-threads will afterwards cover the backing ends. Should we have to deal 
with any face-weave in which only one end-warp raises at the time (satins filling up) we must 
raise the backing-warp near this one end-face, either to the right or left hand. 

2d. We must select for the backing a weave as regular as possible, such as satin-weaves, 
broken-twills, etc., so that every warp-end gets the same amount of binding and therefore of 
tension. 

3d. If there are more intersections of the face-warp with the filling (in a certain number of 
picks) than intersections with the back-warp (in the same number of picks as before) we must work 
each warp from a separate beam. The face-warp, if intersecting oftener than the back-warp (on 
the same number of picks) requires more material ("takes up more") than the less intersecting 
back-warp. 

Two warp-beams must also be used if the material for the face and back-warp is of a different 
nature, such as wool and cotton or worsted and wool spun yarn, etc. The number of intersec- 
tions of face and back-warp in such a case can be equal. 

4th. If using the arrangement "one end face-warp to alternate with one end back-warp," 
never use a heavier size of warp-yarn for the back-warp than you use for the face-yarn. Such a 
selection will prevent the back-warp from showing upon the face. If using "two ends face to 
alternate with one end back," a proportionally heavier yarn can be used for the back-warp. 
Great care must be exercised in selecting the stock for the face-warp and back-warp for fabrics 
requiring "fulling" during the finishing process. The material in the back-warp, which can be of 



116 

a cheaper quality, must have, as nearly as possible, the same tendency for fulling as the "stock" 
which is used in the face-warp. 

In selecting the weave for the back-warp, we should be guided by the required appearance of 
the face in the fabric. For example, a twill-weave can be used for the interlacing of the back-warp 
if the face-weave is a prominent twill. If the face-warp is interlaced into a twill of short repeat, as 
? j 3-harness twill,? 1 4-harness twill, etc., etc.; or if the face-warp interlaces on a plain- 
weave, rib-weave, basket-weave, granite-weave, etc., etc., thus showing small broken-up effects upon 
the face of the fabric, a satin-weave must be used for the interlacing of the back-warp. In woolen 
fabrics requiring fulling, the back-warp, by reason of its lesser amount of intersection as compared 
with the face-warp, is apt to show by impressions the points of intersecting of the back-warp on the 



-prjcjBPBniqn-BEB 


] 


■ ■ BOB^ ~ 

B _ BOB ~ . B 


3 


L_ BOB B B 


1 


::ibob_ in ■: 


j 


bob b b 





B B B BO 

C _BOB_ ' B U 

L B_ B_ .JCJ'.BOB _ IJ 



■ ■ u a bob 

b b a ■ ■::■ 

a a ■ ■::■ B 

■ b bob B a 

B BOB B B B 

■ _".■□■_.. B B ■ 

bob a ■ a a 

■ ■ .a b _ a. a 



■ a a:) ib_,„l_:.:.bob b 

Fig. 585. Fig. 586. Fig. 587. 



face cloth. For this reason a twill-weave, which is used for interlacing the back-warp, might possi- 
bly show its lines of impressions running over the face of the fabric, whereas if a satin is used in the 
present example for interlacing the back-warp, the impressions, if visible on the face of the fabric, 
will be well distributed and harmonize in every respect with the weave used for the interlacing of 
the face-warp. 

Weave Fig. 585 illustrates what might be called an imperfect combination. The - 5 4-har- 
ness twill forms the face upon every alternate warp-thread; the 1 7 S-harness twill, the weave 

for the back-warp. It will readily be seen that the repeat of the 7 8-harness twill, 

taken in equal proportions with the 2 - ^ twill, will require two repeats of the latter. The 

interlacing of the back-warp into the face-twill will thus only occur with every other face-twill, 
and proportionally make every other face-twill appear more prominently. 

Weave Fig. 586 illustrates a perfect selection of weaves, the '-„ 4-harness twill forming the 

face upon every alternate warp-thread with the 8-harness satin-weave (filling for face) as the weave 
for the back-warp. A careful examination of this Vveave will show the method of perfectly com- 
bining the back-warp with the face fabric by stitching the former alternately (exchanging) into 
each twill line of the two repeats of the 4-harness twill, forming one repeat. 

Repeat of weaves Figs. 585 and 586 is 16 warp-threads and 8 picks. 



B-nnKao «cnmurMui - — b~b' bob" sr.nQBBQBB ~" ■■ ' ana 1 -. bb""B3b 

a bob bz : o b BB^rnB ■ — Hn^r— a - aa a nananoBBrTT: a a 7 a 

, . a bob b j 71 a aa a 



■ a 
aa a 

bb bb ..1 

BG SB 

bb bb a B bob bb bb b a BB & B 



BG SB r BOB B ■ B II B B :»H1 BB BOB 

B BB 



IB. B BOB |( . IBBaaQBBQ lBQBGQOnmOBDBaXj iDBBCaOBB HrjDBBQC^^rjBLjB iBBLjaEXDBQB 

Fig. 589. Fig. 590. Fig. 591. Fig. 592. Fig. 593 

Weave Fig. 587 illustrates by taking ■ and n for raisers, ^ and o for sinkers, an imperfect 
selection of weaves, as demonstrated and explained by example Fig. 585 ■ 

By exchanging the 8-harness 1 ^ twill (back-weave) in Fig. 587, to the 4-harness twill 

? 3 (b, b and a for raisers, □ for sinkers), we produce a perfect combination ; the back-warp 
interlacing with the face fabric regularly in every face twill-line ; thus, if producing any 
impressions, such will be uniformly visible. 

Repeat, if using the 8-harness 1 ^ twill of weave for back warp : 16 warp-threads and 8 

picks ; if using the 4-harness 1 g twill for weave of back-warp : 8 warp-threads and 8 picks. 

Weave Fig. 588 shows a perfect combination of weaves, the j 4-harness twill for face- 
warp and the , 8-harness satin for back-warp. Repeat: 16 warp-threads and 8 picks. 



■ ■ 

■ ■"_. 

■ ::■ " 

■ a 

■ ■ 

■ ■ 



117 

Weave Fig. 589 shows another perfect combination of weaves. The 4 - t 8-harness twill is 

used for the face and the l 7 8-harness twill for the interlacing of the back-warp. Repeat: 16 

warp-threads and 8 picks. 

Weave Fig. 590 represents a granite-weave. Repeat : 8 warp-threads and 8 picks. 

Fig. 591 illustrates the combination of weave Fig. 590 for face-warp with the 8-harness 
satin for the back warp, face and back-warp exchanging alternately. Repeat: 16 warp-threads 
and 8 picks. 

Fig. 592 represents a common granite- weave designed for 8 warp-threads and 8 picks in its 
repeat. 

Weave Fig. 593 illustrates the latter applied as a backing warp. Repeat : 12 warp-threads 
and 8 picks. Arrangement of warp : 2 threads face-warp to alternate with 1 thread back-warp. 

The next arrangement for combination of face and back-warp is found in 1 end face, 1 end 

back, 2 ends face, 1 end back =5 ends in repeat. 

°o3^"S Weave Fig. 595 is constructed in this manner, and has for its face- 

'""* weave Fig. 594 (repeat: 6-harness and 6 picks). Weave Fig. 595 has 

10 for its repeat, 10 warp-threads and 6 picks. y„- mt 

Fig. 594- f • f r *ig. 593. 

Figuring with an extra Warp upon the Face of a Fabric otherwise interlaced with 
its Regular Warp and Filling. 

This method of combining two systems of warps with one filling is extensively used in the 
manufacture of textile fabrics devoted to women's wear. One system of warp and the filling pro- 
duces the ground structure of the fabric, and then the second system of warp is employed to 
ogcoooa EDconDga produce the figure upon this ground structure. 

As a peculiarity of this second system of warp, we mention 
3 TTi ■■■■■■■■ 35 t h at it i s only visible on the face of the fabric at certain places 

% ; a /.' jg (according to the design), while at other times it is made to float 

Fic-^3?*^ ' ];j on the back or is stitched in certain places not visible on the face. 
Weave to Longitudinal Sec- To give a thorough explanation of the general principles in- 

tion. Fig. 597. volved in this system, Figs. 596 to 609 are given. 

Fig- 596 illustrates a part of a weave. The warp-threads indicated by 1 and 2, shown by ■ 
type, represent two ground warp-threads interlacing into the filling in " common plain." Warp- 
thread indicated by 3 and shown by ■ type represents the figuring thread. The latter is 8 
picks down, 8 picks up, 8 picks down. A indicates the place where the figure warp raises on 
the face of the fabric, and B indicates the place where the former returns for floating on the 
back. 




Fig. 597. 
(Section corresponding to Fig. 596.) 



Examining the longitudinal section, Fig. 597, we find the same numbers and letters used. 
No. 1 warp-thread, ground fabric, is indicated by a dotted line (ia in the weave). 
No. 2 warp-thread, ground fabric, is indicated by a fine line (■ in the weave). 
No. 3 warp-thread, the figure-thread is indicated by a heavy line (■ in the weave). 
Places A and B in the longitudinal section indicate the respective places marked by corres- 
ponding letters in part of a weave Fig. 596. 



118 



Fig. 598 illustrates two warp-threads of a four-leaf twill, ground fabric, having in its centre 

a figure warp-thread, which also is stitched in certain places to the ground fabric, but so that 

the stitchings are not visible on the face. 

Warp-thread No. 1 reads 2 picks up, I , ,. 

- 6 times over, 



2 picks down, J 

Warp-thread No. 2 reads I pick down, 

2 picks up, V 6 times over, 
1 pick down, 



Ground threads. 



Warp-thread No. 3 reads 1 pick down, 

1 pick up (binder), 
4 picks down, 

7 picks up (figure effect on face), 

8 picks down, 

1 pick up (binder), 

2 picks down. 



nnoocc— r: r —7 — :— □ 

1 



Letter A indicates the binding at pick No. 2. 

Letter B indicates the raising to face at pick No. 7. 

Letter C indicates the lowering to back at pick No. 14. 

Letter D indicates the binding at pick No. 22. 

Examining the longitudinal section Fig. 599, we find the same 
numbers and letters used, so as to give a perfectly clear compre- 
hension of the matter. 

No. 1 warp-thread is indicated by a dotted line, ground fabric (s in the weave). 

No. 2 warp-thread is indicated by a fine line, ground fabric (a in the weave). 

No. 3 warp-thread is indicated by a heavy line, representing the figure-thread (represented by 
■ in the weave). 

Teooe-. 



Fig. 59 8. 

(Weave to longitudinal section 

Fig. 599) 



Fig. 599. 
(Section corresponding- to Fig. 598.) 

Places marked A and D clearly indicate the binding of the figure-warp. By the nature of 
the operation the same is pulled down below the ground fabric and covered by the two warp- 
threads nearest to it. 

B represents the raising of the figure-warp; C represents the lowering of the figure-warp. 

Fabrics made with Loose Texture without Bi?iding the Figure. 

If a fabric is constructed with a thin or loose texture, the floating warp-threads are apt to 
show through on the face, hence the latter threads have to be cut off after the fabric leaves the 
loom. In this case a second point has to be considered: 

If the figure-thread (No. 3) as shown in Figs. 596 and 597, after producing the figure on the 
face, simply passes to the rear, there will be nothing else to keep the figure-threads upon the 
ground fabric but the slight pressure of the ground-warp upon the figure-warp, at the place where 
the latter intersects the former. As this would be insufficient to enable the fabric to resist the 



119 

least wear and tear, we must bind the figure-warp close into the ground fabric all around the 
edges of the design. The best weave to be employed for this purpose is the "plain," which by- 
two or three repeats will give sufficient strength to the figure-warp to allow it to be cut off on the 
back. (Cut not too close to the place of binding.) 



□ d ■■■■■ a a 



: a ■■■ ■■ 



□ □ □ □ 



Fig. 600. 



Fig. 601. 



Fig. 600 is designed to illustrate this point in general, as well as to illustrate a second point, 
in which this binding is used for producing a second effect to the main design itself. In the 
illustration this binding forms a shaded effect around the main design. 

This binding may also be used for shading in floral designs, where in some cases the colors 
have to appear to their full extent. Some cases may require the same color only in a subdued 
form, while others may require that it shall be scarcely visible. 

To get these effects you have to bind your figure-warp into the ground cloth to a sufficient 
degree and in such order as is required. The weave must be selected according to the required 
effect, whether heavy twills, fine twills, satin-weaves or cotton-weave, etc. 



■ ■ ■ 




1 ' 






































' 










1 ' :; " 
























































































■ ■ 


■ " 














%^""i i ■ "i 




































































■ ■ 1 


□ 




















































































































- 1 1 



Fig. 601 represents a sketch for a design which is practically worked out on the □ designing 
paper in Fig. 602, to be used on a common harness-loom for a dress-goods fabric, produced on 
two systems of warp, one system of filling ; ground fabric, ',' plain ; " figure as formed by the extra 
warp — circular spots, distributed after the principle of the five-leaf satin. 

The warp is arranged — 

1 end ground, ) .. , 

)? > 7 times over, 14 ends. 

1 end figure, J 



1 end ground, 



I end 

15 ends in one repeat. 



120 

Fig. 603 illustrates one spot (as used in Fig. 602), shown without the ground-warp, and thus 
represents the spot effect as visible on the face of the fabric. 

In weave Fig. 602 the ■ type indicates the "raisers" for the ground-warp, the ■ indicates the 
effect of the figure-warp as produced upon the before-mentioned ground-structure. The a indi- 
cates the additional binding of the figure-warp to the ground-structure. 



Fig 603. 



Fig. 604. 



As mentioned at the beginning, the plain ground fabric is not always used. Very frequently 
we have used the "twilled" face. For this reason Figs. 604 and 605 are designed, representing the 
sketch of the fabric and the weave. The arrangement of the " motive " in the sketch is after the prin- 
ciple of the four-leaf broken-twill. The weave of the ground fabric consists of the four-harness (even- 
sided) twill " 5. The ■ in Fig. 605 represents the ground fabric; the ■ in Fig. 605 represents 



c . ■ ■ ■■-.—.n ::■ ■ ■ 1 

■ ■■Da 

■ ■■■■■■ 

■ ■■■■■■ 
a a a a a ■ a 

■ ■ a ■ ■ :::::: ■::.:_: ;i:-c _"-.". > •■-< I 
:)■■■:::; KM Q 



a ■ ■ ■ 



:; :: :: 

i_fieli_lj.id._- igi :__.;_■:.: 1 j.'ccojQHLie 



Fig. 605. 

the figure produced upon the former; the a indicates the additional binding of the figure-warp to 
the ground structure. 

The warp is dressed — 

1 end figure, 

1 end ground, 

2 ends in repeat. 

It does not always occur that only one color is used for the figure-warp. Very often differ- 



■iiini: ] 

■>■■■■!■ ] 
■ ■■■■■ 71 



a 

bb 
: ■■ 

BO 

■ ■■■ 






■ ■■.::■] 

IB 

BB ] 

bb : 

■ BBM 

■ BBB 


■aaa 


*■ 


. .BB 


■■■■ 


■ HI 

1 ■■■ 

[ BQB 

[ ■■ 
. ■ 


■ B 

■ ■ 

__ 

BB 

■ 


BBBBBB 
■■■III 

BBBBBB 
BBBBBB 
■ ■■■I . 


■bb : 
■bb : 

■ B 

■ 



ent combinations are employed; but, in whatever shape, form, quality or size, the principle of the 
construction of the fabric will remain the same as if only one color should be used. 



121 

We now pass to fabrics where the floating of the figure-warp is omitted, such as fabrics in 
which the extra warp is bound to the ground fabric. In constructing fabrics of this character 
the " plain " weave, which has been used so extensively in weaves previously illustrated for inter- 
lacing the ground structure of the fabric, is omitted. 

The smallest weave which can be used for the present purpose is the 3 -harness ? , 

twill, but generally the 4-harness even-sided twill is used as the smallest repeat of a weave. In 
this manner Figs. 606 and 607 are constructed, representing a motive and the complete weave for 



POMK 3HBOC 

oi-ir; .1 1 1 " 

HHGOULOXII1 

1 



I. 1 .: I , 
■ 



"." i □ 



□ □ 

D 

D 

i JO. i- . i j 1 



□ □ a 














1 r » ; □ a Q ; i 1 

.■ ,1 1: 1 i : □ a a 




Dl 

a 





Mi I 
I II I ! 

I i li 

. :i i! 1 
mn 

1 r 1 j 

n ' 1 

[ Ul II ! 



D 



• i - 'a 




.-Hdm - , ; : ■ ° a 




11' □ 1 ' « 
a □ 




a 




□ 




:anyc a 










a 

□ 
□ 


1 ■ 1 





□ 

1 a 

1 ."._uu a . : mi 



. 1 id: 1 



□ . a . 1 



Fig. 607. 



a figured dress-goods. The motive, Fig. 606, calls for 13 threads in warp and filling, hence the 

dressing of the warp for weave Fig. 607 calls for 

1 end ground 1 13 times 

. , ' (" = 26 ends. 

1 end figure, J over, 

15 ends ground, 15 

41 ends in repeat. 
The n is for ground warp, the ■ for figure-warp, and the a represents the places for binding- 
the figure-warp to the ground structure. This stitching is done with the regular eight-leaf 
satin. 

Weave 607, calling in its complete extent for 82 ends, can be reduced by cross-draw to 30- 
harness. 

Fig. 608 represents a motive, a crescent, arranged in Fig. 609, for 96 ends repeat. The 
motive calling for 16 ends for figure, will necessitate the following dressing: 

1 end figure, ) 16 times 

j j C =32 ends. 

I end ground, j over, J 

16 ends ground, 16 

48 ends in repeat. 



122 

Comparison of the Size of the Materials as used for Ground-warp and Figure-warp. 

The first condition required by the figure-warp is to prodilce a design solid in appearance on 
the ground fabric. To produce this effect the texture is required to be as close set as possible ; and 
the figure-warp must be made of sufficient thickness, so as to cover the interstices between each 
other as nearly as possible. The general arrangement for changing ground and figure-warp is 
the alternate arrangement between both (i and i). Again, care must be exercised not to have 
the ground-warp of a heavier size than is necessary; for the figure- threads have not only to fill 
the places between the ground-threads, but also to cover them actually; hence the diameter 



tec. in □ 

i 
□ 



■ ■ 
■ ■ 

a a n a 

■ ■ ■ ■ 

BBS £ ti B B 

"BOB - B B IB B B 

a B a a _ _: :_ _' b <b :b a b ■ 

I a i ,i i B S B ~B fl B ■ 
~ 1 I I I I ■ II ~ 

aBBfl3BBB 

~ a m m n ~ 

B B B B 



B B 

B iB 
i 1 1 B 

a b 

■ B 

a b a 



! )i _"C .. • in 

'j ci .: » :: M 
; 3 



Fig. 609. 



Q: IBDgnBDB 



of the figure-warp must equal the diameter of the ground-warp, plus the space between each 
ground-thread. 

Comparison of the Tzvist in the Materials as used for Ground-warp and Figure-warp. 

As a general rule, the ground-warp is of a harder twist than the figure-warp. The 
latter is generally only twisted enough to weave well. There are two reasons for this arrange- 
ment of the twist. 1. The ground-fabric has to stand the strain inweaving; hence, must be of a 
harder arrangement in twist. 2. The figure-warp has to cover the design; hence the loose twist 
will assist in this work. 

Necessity of having Two Beams for Weaving. 

In almost every case in producing the textile fabrics here explained, we are compelled to em- 
ploy two beams, one beam for the ground-warp, one beam for the figure-warp. The reason for using 



123 

two beams is found in the difference of the weave (for the figure-warp is less interlacing than the 
ground-warp) as well as in the difference of the materials used for ground-warp and figure- 
warp. 

Another system of weaving for producing figures upon the face of a single-cloth fabric is 
that known as 




Lappet Weaving. 

This method of producing figures upon the face of a fabric was very extensively used prior 
to the introduction of swivel weaving and the invention of the Jacquard loom. The method of 
operation in this system of weaving is that of passing an independent set of threads through a 
series of needles set in a frame, situated between the reed and the shuttle-raceway of the lay. 
This frame is arranged so as to slide horizontally to and fro, regulated by the "pattern-wheel," 
and the needles are depressed at proper moments to allow the figuring-thread to interweave with 
the ground-cloth by passing the shuttle and its filling over the figuring-thread. This method of 
interweaving the figuring-threads is, in looms of older construction, arranged to have the needles 
which guide the figuring-thread operated on from below, as is illustrated 
in diagram Fig. 610. The needles a (only the first shown) are fixed in 
the guide-frame b. The needles have a thread, c, passed through the eye 
d near their point, e represents the reed,/ and g the shed formed by the 
warp of the regular cloth, h the woven part of the fabric, and i the 
Fig. 6io. shuttle. 

The method of interlacing is as follows: When frame b is raised the needles pass through 
the warp at the rear of the shuttle i and guide-pins k, but in front of reed e, so that by inserting 
the filling by means of the shuttle the figuring-thread gets interlaced with the regular cloth 
structure. Next the frame guiding the needle is lowered and the latter moved to 
the right or to the left as required by the design to be produced. This hori- 
zontal moving of the frame, according to design to be produced, is effected by 
grooves / in a ratchet-wheel m, illustrated in Fig. 611. The pin n, fastened to 
the end of the connecting lever o, being worked alternately from side to side of 
the groove, regulates the distance in moving the needles for the figuring effect Fig. 611. 

required. 

This method of operating the frame which guides the needles requires a fresh one for every 
new design. This ratchet-wheel moves one tooth for each 
pick, and the number of teeth it contains is regulated by the 
length of the design. 

Diagram Fig. 612 clearly illustrates (enlarged as to size 
of threads) the method of interlacing the figuring-threads into 
the ground structure. The figuring-thread is represented 
shaded, ground warp and filling outlined. 

Fig. 613 is the same 
effect arranged in 3 repeats 
in a fabric sample. As 
previously mentioned, the 
frame containing the needles 
for guiding the fi 






Fig. 612. 



Fig. 613. 



_unng- 

warp is placed in some attachment to these looms, situated above the shed formed by the regular 
warp. 

Diagrams Figs. 614, 615, 616, 617, 618, 619 and 620 illustrate a loom and the method of 



124 



operation for lappet weaving as extensively used in the manufacture of elastic web fabrics, such 
as suspender webbing, also ribbons, tapes, and narrow goods generally. It can be arranged, 
however, for wider "figured" fabrics. This loom is patented by Mr. G. H. Hodges. 

Fig. 614 is a side elevation of the lathe and pattern-wheel; certain parts of the lathe being 
represented as broken off. 

Fig. 615 is an end elevation of the lathe, pattern-wheel and ratchet mechanism for operating 
the pattern-wheel. 

Fig. 616 is an elevation of the pattern-wheel detached, showing the side opposite that repre- 
sented in Fig. 615. 





Fig. 614. 



Fig. 615. 



Fig. 617 is a sectional view representing the needles elevated. 

Fig. 618 is a like view representing the needles depressed. 

Fig. 619 is a front elevation, partly broken away, of a lappet loom of the present construction. 

Fig. 620 is an end elevation of the loom, the devices for connecting the needle-bars with 
their actuating levers, and also the mechanism for actuating, the pattern-wheel being omitted in 
order to avoid confusion and to better illustrate the features shown in this figure. Like letters 
of reference indicate corresponding parts in the different figures of the drawings, c represents 
the figuring-threads ; U, the woven fabric; A, the lathe; B B, the pendulous arms by which the 
same is suspended; C, the shuttle; £>, the shuttle-race; E, a section of the reed. 




Fig. 616. 





The web U is ornamented by means of threads c, which pass from spools (not shown) 
mounted on the loom through the guides and thence respectively through the eyes of the needles 
d m and into the web. 

Guards m 2 are employed to prevent the needles from being sprung or drawn out of 
proper position by the strain on the threads c during the process of intersecting the same 
in the fabric. These guards consist of rigid wires arranged horizontally in front of the 
needles near the upper portion of the reed and firmly secured at either end to a fixed 
portion of the lathe or shuttle race in such a manner that when a needle is bent a trifle 



125 

outwardly or toward the front of the lathe by the action of its thread it will strike one of the 
guards, the vertical movements of the needle not being interfered with thereby. The needles 
work vertically and pass through the unfilled warp-threads between the path or race of 
the shuttle, the reed, the pattern-wheel and needles swinging with the lathe. Lateral movements 
of the needles in one direction or to the left are caused by drawing up the horizontal arm of the 
lever L by means of the rod k, thereby bringing the vertical arm of this lever into contact with 
projections on the pawls causing the latter to engage the teeth and slide the bars or holders H J 
to the left, the reverse lateral movement of the needles to the right being caused by the action of 
the springs K when the vertical arm of the lever L is withdrawn from the projection i by depres- 
sing the rod k. The clamp / is returned to its normal position after the vertical arm of the lever 
L is withdrawn by means of the springs g 2 , its movement toward the right being arrested by the 
stop g 3 , which determines the oscillation of the socket/ 2 . When the vertical arm of the lever L 
is withdrawn from the projections on the pawls and strikes the curved arms of the pawls, the 
pawls are thereby disengaged from the teeth on the bars H J, permitting said bars to be forced 





Fig. 619. 



Fig. 620. 



by the springs K against their respective pins in the wheel Q; but as the pins are of unequal 
lengths one of the bars will travel toward the right a greater distance than the other, thus chang- 
ing the relative position of the needles d m with respect to the web E. It will be obvious, how- 
ever, that when the vertical arm of the lever L strikes the projections on the pawls both the pawls 
will be caused to engage the bars simultaneously and both move in unison to the left. 

In order to more clearly understand the method of intersecting the threads c in the web U, 
and thereby ornamenting the same, the operation of the principal parts shown during one full 
revolution of the main driving-wheel of the loom, or one complete traverse of the lathe is 
described. The lathe being at the front of the loom, the shuttle at the right-hand side of the 
fabric, and the needles, needle-bars, and pattern-wheel elevated, with the needles threaded, and 
the bars against their respective pins in the pattern-wheel, if, now, the loom is started up the lathe 
will be moved or swung back from the breast-beam, and at the first quarter of its traverse the 
needles, needle-bars and pattern-wheel will be lowered, and the needles carrying their threads 
will pass through the warp-threads and remain down while the lathe passes through the second 
and third quarters of its traverse. After the lathe has passed through the first quarter of its 



126 

traverse, and while it is making its second and third quarters the shuttle is passed from right to 
left of the web, completing its passage at about the centre of the third quarter of the traverse of 
the lathe. The needles begin to rise as the lathe enters upon the fourth quarter of its traverse, 
their upward movement being completed before the lathe completes its fourth or last quarter. 
The lathe then continues to. advance to the front to beat up the filling, and while completing the 
fourth or last quarter of its course the lever L is actuated through the rod k, and the needles 
carried to the left, after which the pattern-wheel is revolved one notch or step to change the 
position of its pins with respect to the bars or holders H J, after which the lever L is withdrawn 
from the projections of the pawls and striking the arms of the pawls disengages them from the 
bars H J, and permits the springs K to move the bars to the right into contact with the pattern- 
wheel, and thereby change the position of the needles preparatory to repeating the operation. 
The needles d are secured to the needle-bar or holder H by a screw-clamp, and the needles m in 
the bar J by screws ; but any other suitable means may be employed for this purpose. Any 
desired number of needles and needle-holders may also be employed. 

Mr. Hodges in his patent further mentions that "instead of using the rows of pins, 
annular cam-shaped flanges may be employed on the wheel Q, against which the bars H J may 
abut, if desired. 

" The movements of the needles may be so timed as to cause them to work ' pick-and-pick,' 
or pass through the warp-threads at each throw of the shuttle or otherwise, as desired. The 
pawls and lever L afford a convenient means for locking the bars H J together, and moving them 
away from the pattern-wheel conjointly. 

"A proper tension and take-up mechanism (not shown) must be used with each of the 
threads c. 

" But one shuttle and one reed are shown in the drawings, but it will be understood that 
several may be employed in the same loom ; also, that one or more needles may be employed 
with each shuttle and reed as desired. 

" It is preferable to have the threads carried by the needles of a different color or colors from 
those composing the warp and filling of the fabric; also, that in commencing the weaving the 
needle-threads should be drawn some distance through the eyes of the needles, in order that the 
loose ends of the threads may be caught and secured in the fabric by the filling." 

TRICOT WEAVES. 

Under the general name of tricot are classified fabrics presenting rib-effects. The weaves of 
the tricot fabrics are more or less elastic, according to the uses to which they are to be put. If, 
for example, the stuffs are to be used for trousering the tricot weaves will be much less likely to 
bag at the knees than other fabrics. If used for ladies' dress goods, cloakings, etc., they will tend 
to give the garment a nicer and closer fit to the person of the wearer. 

Tricot weaves are graded into tricots forming rib-effects in the direction of the filling and 
tricots forming rib-effects in the direction of the warp. We will consider the former first. 

Tricots with Rib-Effects in t/ie Direction of the Filling 

Are employed largely for stuffs for dress goods, cloakings, overcoatings, suitings, etc. The 
arrangement of the weave most frequently employed is 2 picks face and 2 picks back; but this 
may be changed to I pick face and I pick back, or to 2 picks face and I pick back, according to 
the size of the rib required in the fabric. As a general rule, the heavier the back filling used, 
the more prominent the rib-effect will be. 

Fig. 62 1 is the 4-harness (filling) tricot weave, 2 picks for face to alternate with 2 picks for 
back. Repeat: 4-harness, straight draw, 8 picks. This weave has for its foundation the 4-har- 
ness broken-twill, 2 picks, warp up, to alternate with 2 picks, filling up. 





a 


a *** 'I"2 








•:••:••:< 


a a 




a a *■'.•>:• a 


L ■ 






■ 


■ 






■ 


SBoa 


Fig. 


623. 



127 

Fig. 622 is the 3-harness (filling) tricot weave, 2 picks for face to alternate with 2 picks 
for back. Repeat: 3-harness, straight draw, 12 picks. This weave has for its foundation the 
3-harness twill, 2 picks, warp up, to alternate with 2 picks, filling up. 

■DDBCD 

aa aa ] 
caa aa 
[ ■ ■ 
■ ■ ] 
naa. aa 
m aa a 

Ba 
a a '3*t3'~SQH 

ei aa a ■ ■ 

[ ■ ■ Sa Sa ] 

DBHD3BJD najQJCBD 

aa aaa .a isa ■ 

r.-'i'ta £Bgs aa aa j 

1 a : ■ j 1 £»; aa 

■ ■ a ■ 

taaa aaa j a a 

a ':aaa .aa ! aa aa 

■ ■ a aa a 

a a Kjicn 

aa " aaa a a a 

aaa aaa a aa "a 

a a : 

lBDogaiGjD lCMaaan 

Fig. 621. Fig. 622. 

Fig. 623 represents the 4-harness (filling) tricot weave, 1 face pick to alternate with a backing 
pick. 4-harness, straight draw, 8 picks, repeat of pattern. This weave is composed of the 
4-harness broken-twill. 

Fig. 624, 4-harness (filling) tricot weave, 2 picks face to alternate with 1 pick back. Repeat: 
4-harness, straight draw, 12 picks. In designing this weave, observe the following rule: The 
warp-thread which is lowered in the back pick must be raised in the next following face pick. 

Tricots Forming Rib-Effects in the Direction of the Warp. 

This division of tricot weaves includes an endless variety of effects in trouserings, suitings, 
etc., both in wool and worsted goods. A few ends of the regular warp twisted over with organ- 
zine silk, or a few fancy-colored threads of worsted wool or sewing silk spread over the fabric 
(on warp ends showing on the face) will give good effects. 

Fig. 625, 8-harness warp, tricot weave. Repeat: 8-harness, straight draw, 4 picks. Harness 
I, 3, 5 and 7 are for the face, and hence the harness where the fancy end has to be drawn on. 



a a 






a a ] 


a a 


a aaa a a 


a a ] 


a ■ 


aaa aaa 








a ■ 




a a a ■:■-:• a 






a aaa aa 


a a 


a a 


a '!"'.- >:■■!' a 






a a aa a a aa 

aaa a :: aaa a 
a aaa a aaa i 
a aa a a aa a i 
a a aa a a aa 
aaa a . . aaa a 
a aaa a . aaa i 







a aaa aa 








a a a aaa 


a a a aaa : 


i a aaa aa 

aaa aa a 


a aaa aa 
aaa aa a 











aaa a 
— aaaa ] 
aaa 



aaaa-: ■:■■!■ ~ 
lnDaODDBa 

Fig. 624. Fig. 625. Fig. 626. Fig. 627. 

Fig. 626, 12-harness warp, tricot weave. Repeat: 12-harness, straight draw, 4 picks. Harness 
*> 3- 5» 7. 9 an d 1 1 are for the face, hence for the fancy ends. 

Sometimes we have to make these long tricots extra heavy, which may be done by adding 
an extra backing pick every alternate pick. Fig. 627 is an example. Repeat: 8-harness, straight 
draw, 8 picks. 

r _. > . r ■ ..... a aaaaa a bbbbb . 

In rig. 628 a specimen 01 a tricot weave is given which by the proper arrange- ■J b 5 b Sbb"b"bbbb5 
ment of its texture produces a fabric containing a considerable amount of elasti- ! b SJ"!" b !,!5"b"b 
city, in fact, a fabric very closely imitating what is known as "Jersey cloth." ■■■:;■. aaaaa _a_aa 

As mentioned, it is not upon the weave alone that we must depend for 
imparting this elasticity to the fabric. The result also follows from use of materials for the yarns 



128 

of the proper "counts" and quality and upon their arrangements. The following dressing must 
be used for the previously given design ; 

2 threads of 2-ply cotton (forming after finishing the body of the fabric). 

2 threads of single worsted (forming the face of the fabric after finishing). 

4 threads in pattern. 

The fillings to be fine, soft, single worsted (forming the back in the fabric after weaving and 
finishing). 

Both kinds of warp will be visible on the face after weaving, but during the changes the 
fabric undergoes in finishing the cotton warp will disappear from the face, taking its place in the 
body of the fabric. 

These fabrics must be made very wide in the loom. Thus, in the case of a 54-inch finished 
fabric, the goods must be woven 92 to 100 inches wide in the loom, according to the texture and 
quality of the material used. (Fabrics made with weave Fig. 628 require the selvages to be sewed 
together when they are fulled.) 




Double Cloth. 

Under double cloth we comprehend the combining of two single cloths into one fabric. 
Each one of these two single cloths is constructed with its own system of warp and filling, while 
the combination of both fabrics is effected by interlacing some of the warp-threads of the one 
cloth into the other at certain intervals. 

The objects for the making of the double cloth are manifold. Among these may be men- 
tioned: To reduce the cost of production for heavy-weight fabrics by using cheaper material for 
the cloth forming the back; to increase the strength of certain grades of fabrics; to increase the 
bulk of a fabric; to produce double-faced fabrics; to produce fancy effects by the system of com- 
bining or exchanging both single cloths. 

As mentioned before, a separate warp and filling is required for each cloth, and so likewise 
in preparing the design a separate dealing with each is required. 

In diagram Fig. 629^ the section of two single-cloth fabrics is shown. 



R A B' A' 





In Diagram Fig. 629^ the plan of two single-cloth fabrics, situated above each other, is 
shown. Warp-threads 2 and 4 and picks 1 and 3 form one cloth (shown shaded), while warp- 
threads 1 and 3 and picks 2 and 4 form the other (illustrated in outlined threads). 

Examining the section, Fig. 629^, and the plan of interlacing, Fig. 629^, it is found that each 
warp-thread interlaces with its own system of filling, and thus each cloth is formed independent 
of the other. These are, with a few exceptions, such as seamless bags, etc., stitched (or combined) 
together so as to form one fabric. 

The proportion of face warp and face filling to back warp and back filling to be used may be 
as 1 end face to 1 end back, or 2 ends face to 1 end back, or 2 ends face to 2 ends back, or 3 ends 
face to 1 end back, etc., etc. 

One proportion for the two kinds of warp and a different proportion for the two kinds of 
filling may also be used, for example: 

Warp { 2 ends face = 2 /= face - Filling / l pick face = ^ face ' 

% back, & I 1 pick back = ]/ 2 back, 



I I end back 



3 ends in repeat. 2 picks in repeat, etc., etc. 

As mentioned before, the stitching has to bind these two single-cloth fabrics together, in fact, 
to unite the same into one fabric. The warp of the bottom fabric may have to bind into the face 
fabric, or the face warp into the bottom fabric. In both cases the warp of the one has to inter- 
weave more or less with the filling of the other. 

(129) 



130 

In fabrics where each side is of a different color, and the color of the face fabric shall 
not disturb the back, nor the color of the back cloth the face, great care must be exercised in 
the manner of combining both cloths. For this purpose we must select for binding, points where 
warp and filling interlace less frequently, as this will reduce the chances of the thread used for 
interlacing on one cloth showing upon the other. 

The binding of both cloths into one fabric also has an influence with regard to the feel 
(handling) of the fabric, for the oftener we combine (stitch) a certain number of ends of warp 
and filling the harder and firmer the fabric will feel; again, if not sufficient stitching is used the 
fabric produced will be loose or spongy. 

The amount of binding for both cloths can only be learned through practical experience, yet 
the rules for binding are the same for wide as well as close-stitched fabrics. 

Rules for Designing the Present System of Double Cloth. 

ist. Indicate the back warp and backfilling on your squared designing paper. (At your first few exer- 
cises stripe off these threads with a light color so as to readily distinguish one from the others.) 
2d. Put the weave for the face cloth upon its own system of threads (omitting every backing thread 

as if it were not in the design). 
jd. Put the weave for the loiver cloth (back cloth) upon its own system of threads. 
4th. Raise all the face warp on every backing pick. 
5th. Combine both single cloths, thus far constructed separately, into o?ie fabric. 

Observe the following rules in combining: The places for combining both fabrics must 
be distributed as regularly as possible over the entire fabric. Select the amount of binding for 
the two cloths according to the character of the fabric the weave is designed for. 

In combining the two fabrics by raising the back warp over the face filling at certain places, 
divide the arrangement as equally as possible for each backing thread. If in certain weaves every 
backing warp-thread cannot be used, arrange the omission of threads uniformly, such as every 
other or every third thread, etc. 

In combining the two fabrics through certain face warp-threads resting in the lower shed of 
the backing pick, observe the rules given for the back warp. 

In using the back warp for binding in the face cloth (as is generally done) the back warp- 
thread must be arranged to rise at places where the face warp-thread, situated on each side nearest 
to it, rises at the same time. 

It is advisable to have the raising of the back warp into the face fabric arranged to occur 
immediately before, or right after, the same back warp-threads have been or are to be raised by 
the weave in the backing cloth. 

In using the face warp for binding in the lower cloth, select for points of stitching spots 
(sinkers) in which the warp-thread is down in the two adjacent face picks. 

Be careful not to disturb the general effect of the face cloth by arranging perfect points of 

combinings, but in wrong places. For example : Take the - g 4-harness twill for face-weave. 

Suppose one repeat of the back fabric requires two repeats of the face-weave. Requiring a 
smooth face, and one face twill to show as prominently as the other, the stitching must be 
arranged alternately for each face twill, because by continuing to use only the one repeat of a 
twill in rotation, this twill will show more prominently than the other. 

To thoroughly understand the foregoing rules for designing double cloth, a study of Figs. 
630, 631, 632, 633, 634, 635, 636 and 637 is advised. They represent both weaves for the single 
cloths and their principle of combining until the weave for the double cloth is perfected. Each 
rule is illustrated in successive rotation as laid down. 

Fig. 630 illustrates the 4-harness (e) twill 2 , designed for 4 repeats, warp and filling 

ways; hence for 16 warp-threads and 16 picks. 



131 

Fig. 631 is the plain weave for 8 warp-threads and 8 picks. 

Fig. 632 represents one repeat of the 8-harness satin, filling face. 

In giving our rules for designing double cloth rule 1 calls for the indication of the two 
single-cloth fabrics, as each must be treated separately from the other. 

Fig 633, which is designed for illustrating the present rule, explains itself as " two ends for 
the one single cloth to alternate with one end from the other, warp and filling ways." This 
will equal, in the present example, 2 ends face to alternate with one end back. 

BcaDDnana 

t: :; c; n 1 
in BCS o 



Fig. 631. 



i ■ 


■1 








LUL,l_]WUL.«LJUHUU«UUBUUaUL»J 
















































"i 






"1 




























J 



—■ "-■/■;■■■; !"■"■ 


■ ■ ■ ■ 




r 1 


































■ . - ■■ ' a 








■a 




aa ■■ 















Fig. 630. Fig. 632. Fig. 633. Fig. 634. 

Fig. 634 illustrates the application of the second rule as given: " Put weave for the face 
cloth upon its own system of threads?' In this example the 4-harness twill shown in Fig. 630 is 
applied for face-weave to the plan " 2 face 1 back." 

Fig. 635 illustrates the succeeding rule (3d) as applied to example, Fig. 634. "Put the weave 
for the lower fabric upon its own systems of threads." The weave selected for this example is the 
one shown in Fig. 631 (common plain). The next rule (4th) calls for the raising of the face warp 
on every backing pick. This is illustrated in Fig. 636. These four rules, as observed thus far 
and illustrated in Fig. 636, produce two separately constructed fabrics. Two-thirds of the number 
of warp and filling-threads form the face cloth, and the remaining one-third of warp and filling 
form the lower cloth. Rule 5 calls for the combining of these separately constructed fabrics, 
either by using the back warp for interlacing with the face filling or the face warp with the back 
filling. The first mentioned method is used in the present example. 











■ ■■ ■■ ■■ 1 




■ ■ ■ ■ ■ ■ 
























n 
























a 


it ' ■■ ■■ ■ 






.. .. | 




aa 


BE ■■ ■■ 





























.: ■ ■■ ■■ ■■ ■ 










■ 














■ aa aa ■■ 


■ 






■ ■ ■ ■ ■ ■ 


■ 
■ ■ 

























Dl ■■ 




:: 

BB 


















B 


■ ■ 










■ ■ 


■ ■ 


OB 




BB. J 












■ ■■ 


■ 


■ 


BB 


:~r m 
































i-r ■■" 


■ 


■ ' 


■ B 


B 














oa 


■ ■ 




BB 


■ ■ ■ 


D 














1 O 













Fig. 635. Fig. 636. Fig. 637. 

Fig. 637. The arrangement for combining (stitching) is after the principle of the 8-harness 
satin shown in fig. 632. 

In designs Figs. 630 to 637 the character of type used for each figure is as follows : 

■ indicates the weave for face cloth. 

n indicates the weave for back cloth. 

a indicates the arrangement for combining both cloths for the double cloth. 

a indicates the back warp and filling-threads from face system. 

s indicates the raising of the face warp on the backing pick. 



132 

The next thing to be studied is the relation of the warp to the filling and the weave. 
If both cloths (face and back) are equal in every respect (quality of stock, counts of yarn, 
proportion of warp and filling and its arrangement, and weave used for the face and back- 
cloth) no difficulties need be experienced in designing the same. But on the other hand, 
if any of these points, as mentioned, differ in one cloth from the other, great care must be 
exercised. 

We will next proceed to give a few examples of different kinds of double cloth ; also com- 
plete explanations of them from their foundation to the complete weave. 

In the following examples, Fig. 638 to Fig. 688, the different characters of type used give 
the following indications: 

= the weave for the face-cloth. 
= the weave for the back-cloth. 
b = the stitching of both fabrics, back-warp into face filling. 

b = the raising of face-warp on backing picks, as required for forming the lower cloth. 
Sinkers: k = the stitching of both fabrics, face -warp into the back filling. 



•3 ' 
Pi 



A. Double-Cloth Weaves having for their Arrangement One End Face to Alternate with 
One End Back in Warp and Filling. 

This system of double cloth is mostly used in fabrics in which the quality, size and weave of 
the two cloths (face and back) is nearly, if not entirely equal, as in reversible overcoating, etc. 



encuGna - : ' ■ 1 wcncr )dq 

b aa aa I ca i :qi h l\f : b 

DBauoaaa dc • i r:o s: ; 

I ■• BBS 

a nil a a 

■DBBBGGB ' II ,. i '.' 

! bbh aa : ■:• 



it: a a 

men 


B I 


v ' 


:■ 
a 1 


a a a 




:: : 


:a 1 


a 


B 1 


a be 


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: a i 


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,, , 


a »-:-a i 


! ' a ■ 


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a*a " 


a 


a d 


e R '. 


a i 


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a ' a 
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a ' 
a. 1 


1 ' H' :R 


a a 


a a 

a a an 


IB-BSil 


J..C 


a a 



iaaa_ ae ': 

Fig. 638. Fig. 639. Fig. 640. Fig. 641. 

Fig. 63S represents the weave for face (8-harness fancy-twill). 

Fig. 639 represents the weave for back (— % — 5_ 8-harness twill). 

Fig. 640 represents the arrangement for combining both cloths through the back-warp, inter- 
lacing with the face filling (- ? 8-harness twill). 

Fig. 641 is a complete double-cloth weave, constructed out of Figs. 638, 639 and 640. 
Repeat: 16 warp-threads and 16 picks. 

■ i; a :a™a a :a~a a m iGGCQTOzansnaESBDBl 

[.:■: :bq. , be ,. a ; r : ■.: a __ a „ a '.. a 1 

m - ~-i" -" az""" bb"" a" " a " a *' a ^ ] 

c as* a "ra ." a:: ^ a " a " a ^. ■] 

a '1 :m " as" a a \\ a " a ^ a .■ J 

c " a a " \\ b:b ' i a;^ a !". a _ as " a „ a ." a " a J 



■>□□■■ -iDDDDnnHD a si id a a .:; :a a : □ a a a a - a 

DnBDonoa a a bob l a: : a rac _ 

□BoaHOao a a a a a :: a a a a a a a a a a a a a a a a a.i 



UWJ3 lfS__,^j„_.J <BEJB BR 1BE3 EBB >B B B m • 



Fig. 642. Fig. 643. Fig. 644. Fi ;. 645. Fig. 646. 

Another example illustrating double cloth constructed " one face, one back " in warp and 
filling, is shown in weave Fig. 644. It contains the common 4-harness basket, illustrated sep- 
arately in Fig. 642, for its face and back weave. 

The method of interlacing observed is the stitching of the back-warp into the face-cloth, as 
shown by a for raisers in the full design, as well as in the extra plan Fig. 643. 



133 

Weave Fig. 645 illustrates the combining of two plain woven cloths into one fabric by bind- 
ing the back-warp into the face-cloth. It will be seen that the points where the back-cloth 
interlaces into the face will show on the surface, but as only one thread raises at a time in a 
plain weave, the required points in Rule 5 (2. e. to have for the intersection of the back-warp with 
the face-cloth, a place where the face warp-threads on each side nearest to the back warp-thread 
raise at the same time) can never be found, and we must use the weave as mentioned above, or 
as to whichever side of the fabric is required to be the clearest, we may use the arrangement of 
the " double plain," as shown in weave Fig. 646. In this the face is arranged to bind the lower 
fabric as indicated by h for sinkers. The raising of the back-warp in the face-cloth in weave 
Fig. 645, as well as the lowering of the face-warp in the lower cloth, as in Fig. 646, are arranged 

i«a :: □nnnEnorEnHQ 



■ «■ c 
■■ ■■ 

■■ ■■ . 
■■ ■■ 

■ ■■ ■ 
■■ ■■ 

■ K ■■ 

■ ■ ■■ 



eaomnmnmn 








1 • 1 1 TOBQ 






m 










SQsaaaso 
icmcbqhq| 




lBoaaznaQ 



Fig. 647. Fig. 648. Fig. 649. Fig. 650. 

after the 8-harness satin (filling face). In the present examples, Figs. 645 and 646, the question 
may arise as to which method should be preferred ? 

Taken in the general average of fabrics constructed on this double plain weave, or similar 
weaves, in which only single threads raise at a time, such as filling-face satins, etc., the preference 
should be given in favor of the first named weave. 

Repeafbf designs 645 and 646 is : 16 warp-threads and 16 picks. 

Another example of this system of double cloth is shown in Figs. 647 to 650. 

Fig. 647 represents the face-weave. 

Fig. 648 represents the weave for the lower fabric. 

Fig. "649 illustrates the method of binding both cloths into one fabric. 



"■: ■■ ■■ 

■ ■■ ■ 

■ ■■ ■ 
1 ■■ ■■ 

; ■■ ■■ 
■ ■ ■■ 
■■ ■■ 

■ s ■■ 



:_"".:. a ■ ■ ■*■ 

a G :; L) ^ 12 :: :: :. 

■*■ ■ ■ 

qoHHbd n :: g :: g :: :: c: 

1. * ■•:•■ ■ ■ 

m g ia ~ — " "■ :J' ■" 



Fig. 651. Fig. 652. Fig. 653. Fig. 654. 

Fig. 650 shows the complete design. 

Repeat : 16 warp-threads and 16 picks. Face-weave is the 2 — - 2 4-harness twill ; back-weave 
is the plain. 

The stitching of the back into the face-cloth is arranged after the 8-harness satin, 
filling up. 

Weaves Figs. 65 1 to 654 illustrate the combining of an 8-harness " granite-weave " with the 
plain weave for double cloth, each taken alternately, warp and filling ways. 

Fig. 65 1 illustrates the granite-weave (8-harness) to be used for the face. 

Fig. 652 is the plain weave to be used for the back of the double cloth. 

Fig. 654 shows the complete double-cloth weave derived by combining both cloths with the 
8-harness satin, Fig. 653, using the back-warp for binding into the face-cloth. 



134 
Double Cloth Composed with Different Proportions of Face and Back-threads. 

B. Warp : r end face to alternate with i end back. 
Filling: 2 ends face to alternate with 1 end back. 

In this manner weave 655 is constructed. Repeat: 16 warp-threads and 12 picks. Weave 



! "„ 


"~«~l 


jgn 


rpaa 




BSB 




■ a 


a 


■ 


as 


a ] 


ZM'D 


□ 


b 


1 


■ 


H-I-s 




S ^ 


" " 


a a 


"' 


l^B 


■ a 


"an 


■ 


1 ^ : 


^i:" i 


ia 


?t 



l bb ii r/T.s :crv'i : i 



1DDBCODDH s> 



Fig. 655. Fig. 656. Fig. 657. Fig. 658. 

for face-cloth is the 4-harness - : , twill, Fig. 656. Weave for the back-cloth is illustrated sepa- 
rately (same kind of type as used in complete weave) in Fig. 657. 

The combining of both cloths is effected by the 8-harness satin, Fig, 658. 

C. Warp : 2 ends face to alternate ivith 1 end back. 
Filling: 1 end face to alternate with 1 end back. 

Designing a double-cloth weave under this proportion is illustrated by weave Fig. 659. 
Repeat : 6 warp-threads and 8 picks. Weave for face-cloth is the 4-harness ? ^ twill (Fig. 660). 



c aa 1 aa aa a 

m : ■■ a 

a aa aa aa a 

l ■ •r-s ■ ■■:-■ 

a aa aa aa a 

BB BB 

a aa aa aa a 
■ n B'i'H 

-a aa aa aa a 

a v BB a 

a aa aa aa a 

a*0 BSB 

a ::a aa aa a 

a aa aa a" a 



an ilcan iHDBD 

Fig. 659. Fig. 660. Fig. 661. Fig. 662. 

The back-cloth is worked on plain, as represented in Fig. 66 1, and the combining is effected 
by the back-warp in the face-cloth raising every other back warp-thread on every other face-pick 
(Fig. 662). 

The next arrangement for double cloth is — 

D. Warp and filling: 2 ends face to alternate with 1 end back. 

This proportion for using face-threads to backing-threads in warp and filling has been repre- 
sented before, in the examples given for illustrating the rules for designing double cloth. At 
present this system of using face to back-threads is mentioned in its proper place under the head- 
ing of " Different Proportions of Face and Back in Double Cloth." 



a aa aa aa a &^raB::aB::i 

a a bb a b aa a 

I BB B*B BB BB B 

a aa aa aa a ■■Dial' ] 

aa b a cqdbb aa 

BvHB B B L«B BB 

a aa :a ■■■ n 



Fig. 663. Fig. 664. Fig. 665. Fig. 666. 

Fig. 663 represents the combination in double cloth of weave Fig. 664 used for the face, and 
weave Fig. 665 that used for the back. Both cloths are combined into one fabric after the motive 
of the 1 3 4-harness twill (Fig. 666). Repeat of weave Fig. 663 : 1 2 warp-threads and 1 2 picks. 



135 

Weave Fig. 667 illustrates the combination of the - j 4-harness broken-twill (Fig. 668) for 

the face-cloth and the 3 r 4-harness common twill for the lower cloth (Fig. 669). Both cloths 

are combined by motive, Fig. 670 (plain). 

Repeat of the double-cloth weave: 12 warp-threads and 12 picks. 

■ •:■» 1DUBKDB 
:: :::; :::: :::: :j 
r ■■ ■ ■■ 

■ ~ ■■:•■■ ■■:•■ 
:: :;:; :::: :::: ;i 

. ■■ ■ . ■■ ■ 

■ ■■ "■' ■■ J '■■ ■ 1; ■ "-i iK? m 

■ ■ : ■■ ■-:•■ ■■■ ; 1 .3 
E ":: :::: :::: :: ■ ■■ * * 

■ ^-■■-■--■■-■j ■■■ isaGB lGBQffl 

Fig. 667. Fig. 668. Fig. 669. Fig. 670. 

This character of the double cloth (2 threads face to alternate with 1 thread back) is that 
most frequently used in the manufacture of worsted and woolen goods. In designing double 
cloth by this arrangement for 4-harness basket or similar weaves, as also combination weaves of 
basket and twill effects, etc., always remember that the back-warp must be arranged to work in the 
centre of the two face warp-threads working alike, as this gives us the only chance for properly 
binding back to face. For example : 



















■ ■ 


■ ■ 




■ »■ 




■ 1 


m 


u 












:i 




■ ■ 




■ a 




■ • 


1 ■•:• 


u 








































- ,, 


■<;<■ 




■ a 




■ t 


■ 


m 


" 
















;: :; 












a sa 


n 










'- 














■ ■ 


- :; 


■ ■ 


"i 


i a 


H 


"m m" 


a 



■■ ' ■■ '■ ' ■ i . 1 e - 13 

■■ ■■ mamamoBa ■:■ 

■■ ■■ nQoaacDH 

■■ ■■ ■:• 

■ ■ mm 1-1 ■:• 

a 
•3 



■■ ■■ 

■ ■ : ■■ lUuBDBCBG -I' 

Fig. 671. Fig. 672. Fig. 673. Fig. 674. 

Fig. 671 illustrates the weave for a double-cloth fabric, which has for its face the 4-harness 
basket (arranged as previously mentioned). It has the common plain weave for the backing, and 
the stitching is done with the 8-harness satin. 

Fig. 672, the face weave. Fig. 673, the back weave. Fig. 674, the stitching. 

Repeat of weave Fig. 671 : 24 warp-threads and 24 picks. 

The next arrangement of proportional face and back for warp and filling is : 

E. 2 ends face to alternate with 2 ends back in both systems of threads. 
This method is illustrated in Fig. 675 which is composed of the 8-harness twill j for face 





■■ 




■ 








:: 






u 


■ 


D 1 : 








LI 


"m ■■ 


■:•■ 




"■ 








■■ •:■■" 




a 


■ a a 










_ 1 



n • :n n 



>■■■ ■ «B~p^B~nD >m 

■■ ■■ 

■ ■■■ 

- ■■■■ 
■■■■ 
■■■■ 
■■■■ 

■ ■■■■CEDa ' 1DDJQ 

Fig. 675. Fig. 676. Fig. 677. Fig. 678. 

and the common plain weave for back-cloth. Both cloths are combined with the weave repre- 
sented in Fig. 678. 

Fig. 676 shows the face-weave. Fig. 677 shows the back. Repeat of the double cloth : 16 
warp-threads and 16 picks. 



136 



F. Warp: 2 ends face to exchange with 2 ends back. Filling: 2 picks face to exchange 

with 1 backing. 

These are used to a great extent in arranging 63 steep twills (diagonals) for double cloth. 

Figs. 679, 680, 681 and 682, illustrate such a case. 

Fig. 680 represents a diagonal on 6-harness and 12 picks repeat, as used for face. 

Fig. 681 shows the common plain as used for back. 



□ 


BB 


::;: a 

a *a 


a 




BB . 




a" 


II 


a 


a 


■ a 


a 

a 


aa 

■ 


aa :: 

:<a a 




BB 


a 


□ 




:::: a 




BB 


B 


a 




BB 


a 


iaa 


aa a 


a 


:<a 


aa 



a aa aa a 
ib. ;.._. .. i j_::i 



Fig. 679. 



Fig. 6S0. 



Fig. 681. 



Fig. 6S2. 



Fig. 679 illustrates the complete double-cloth weave, 12 warp-threads and 18 picks repeat. 
The combining of face and back cloth is shown separately in Fig. 682. 

G. j ends face to exchange with 1 end back in warp and the filling. 

These are illustrated in one example by weaves, Figs. 683 to 686. 
Fig. 684 represents a 1 2-harness fancy twill to be used for face-weave. 
Fig. 685 shows the common plain to be used for backing weave. 

Both cloths are combined into one fabric with the - 3 4-harness twill shown in Fig. 686. 

Repeat of double-cloth weave, Fig. 683 : 16 warp-threads and 16 picks. 






aa aaa aaa : 

■■ bb a ■*■■ 1 .a 

a a bb B a 

a a : •■■ a 

r:a aa:: aaa aaa a 

BB B Bfl'BB I: BBB 

bb a . .bb a 

bbb 1 |i a ■ a 

1 Bain .aaa bb a 
• aa a : . aa a 



■DDDIDBDDI 



a aa bbb ! 



bbb nea bb 



Fig. 684. 



samam 
11 i_i 
□nog 

Fig. 685. 



Fig. 686. 



Fig. 683. 

The foregoing 57 weaves have clearly demonstrated that double-cloth weaves may be de- 
signed in any combination, from 1 face, 1 back in repeat, to 3 face, I back ; also that these pro- 
portions may be taken independently for warps or for filling in any weave. The binding has 
mostly been done by the back-warp, yet it has been shown that the face-warp can also be used. 
In closing this subject on the construction of the double-cloth weaves, a further example is 
shown in which both methods of stitching must be combined in one double-cloth weave. 
Fig. 687 represents such a double-cloth weave. 
Repeat: 20 warp-threads and 18 picks. The arrange- 
ment of the warp is : 'aHSrrrS-fflE 
3 threads face. 
I thread back. 
5 threads face. 

j_ thread back. T "fig".6Ss""" B 

10 threads in repeat. 
The filling intersects 2 picks face, I back, = 3 picks in repeat. 

On examining the weave we find the centre thread of the 5 face-ends used for interlacing 
twice ' in one repeat of the weave in the back. The places of stitching the face-warp into the 
back are shown by a. 



16- U ■■ 


.... 


B l 


■ 


] 


i ■■:■■ 

::-• ::: 

L .1 


■■ ri 




■■ ■ 


a 


I 








a 

■ 


[ ■ ■; 




■ B 1 
""■ i 


■ 

IB 


3 


L ■*■ 
1 


■■_ 


■ 


US"r^ 


3 

n 


ex: :3c 




:•■ 


■ 


■ 


■ 


■■ 


■ 


■■ 


■ 


■■ ai 


l 1 


■ 1 


IB 





L "' BBB 
[ BBB 

1 BBB 


. ' BBB 

mj ) BBB 
■III 


CBBB ' ' 

II aa 

BB BB 


BBB .J 

.BB iBBJJ 
' II BB 


□ : 'a bbb 


' '. aaa 


B ] III 


BBB 



iaa a:: :::: aaa aa. aa a 



Fig. 687. 



137 

Weave Fig. 688 represents the single-face cloth, being a granite-weave with fancy spot-effects 
(by the aid of warp-threads numbers i and 9.) 

Double-Cloth Weaving without Stitching Both Cloths. 

At the beginning of our lecture on the double cloth, and the purposes for which it is used 
when the two single cloths are not stitched together so as to form a new fabric, we mentioned 
the manufacture of seamless bags and fabrics constructed on similar principles. In manufacturing 
seamless bags a series of panels are formed, each composed of two separate cloths, a series of 
solid webbings uniting the cloths of the panels, and a series of divisions formed in the solid 
webbings, each of which are composed of two separate cloths. Diagrams Figs. 689, 690, 691, 
692 and 693 are intended to illustrate the method of weaving such seamless bags. (Harden- 
brook's patent.) 

Figs. 689 and 689 1 represent a plan view of the fabric. 

Fig. 690 is a transverse section of the same in the plane x x, Fig. 689. 

Fig. 691 is a longitudinal section in the plane y y, Fig. 689. 

Fig. 692 is a longitudinal section in the plane z z, Fig. 689. 

Fig. 693 is a sectional side view of a bag when finished. 








%650. K 



.Tufr^a. a c - ^ 



A (689) designates a fabric in which the arrow 1 indicates the warp. This fabric consists of 
a series of panels c c*, each composed of two cloths, and of a series of transverse solid web- 
bings, a a, and longitudinal solid webbings b b, in which the filling is interwoven with all the 
warp-threads of the fabric, producing purely single cloth with the latter at places mentioned. 
The outside edges, as to width of fabric in the loom, may either be temporarily closed with 
a few threads of plain working selvage, which may be liberated after the fabric has left the 
loom ; or the fabric can be woven without specially uniting the two fabrics in such manner. 
The commencement and the ending of the weaving of the fabric in the loom is formed in 
each case by one of the transverse solid webbings a (single cloth). If the fabric is cut 
lengthwise through the centre of the longitudinal solid webbings b b, and through the centre 
of the divisions, and also transversely through the middle lines of the solid webbings a a, 
f f, a number of bags are produced, and it will be seen that the bags produced from the 
side portions, c* c*, of the fabric have selvages at their mouths, while all the others produced 
from the centre portions, c c, will have raw edges at their mouths). 

The size and the shape of the bags is unlimited and is readily regulated by the changing of 
divisions (purely single-cloth weaving) or openings (double cloth not stitched). 

From the explanations and illustration given it will readily be seen that in cutting up the 
fabrics represented in the drawings a number of bags are formed, the mouth of each being 



138 

composed of two single cloths projecting beyond the solid webbing, so that they can be turned 
back upon the body of the bag (see Fig. 693) to form the tube g, for the reception of the 
drawing strings g 1 , or simply hems to protect the raw edges. 

Fig 694 illustrates the double plain weave (two plain woven cloths), without combining or 
■°!° stitching required to produce the openings, while the common rib-weave, Fig. 695 S3"S» 
bgod or (.jjg com mon plain weave Fig. 69s 2 35 is used for forming the divisions in the fabric 
(purely single cloth.) 
These bags are used mostly for tobacco, salt, flour, etc., or pockets for trouserings, coats, 
suitings, etc. Frequently seamless bags of a larger description are required to be made, extend- 
ing in their length over the entire width of the loom. In such case the double plain weave is 
arranged for two successive picks in each cloth, as shown in «g.nj Lo werside of bag on loom. 
Fig. 696. Warp-threads 2 and 4 and picks 3 and 4 forming the ;■ " ! Upper side of bag on loom, 
lower fabric, and warp-threads 1 and 3 and picks I and 2 forming -<-«8 S. 
the upper fabric. FlG - 6 9 5 - 

Only one shuttle being used the filling will form the bottom of the bag at the point where 
the filling, after leaving one cloth, changes into the other cloth. For example, in the present 
weave, suppose we commence to insert the shuttle in pick 1 from the right to the left, or in the 
direction of arrow S, below the weave ; the shuttle and its filling, after leaving shed 1 of the 
upper cloth, will return in the same cloth on its return (left to right), but will insert itself in the 
lower cloth on pick 3 by interlacing with the warp and filling of the lower fabric ; returning in 
the same fabric at the opening of shed (pick) 4, ready to change again (combining both single 
cloth for forming the bottom of the bag) from the lower cloth to the upper (the starting point in 
the present example). 

Before and after weaving the required width of the bag (double plain interlacing on one side of 
the fabric), the entire number of warp-threads are arranged to interlace 
on the common rib-weave shown in Fig. 695 (in purely single cloth). 
Fig. 697 illustrates itself, by the aid of the foregoing explanation, as 
follows : a, b, c, d inside size of bag produced on weave 696. The 
shaded part between the two bags represents the purely single-cloth 
fabric interlaced upon the common rib-weave (Fig. 695) ; b to c = 
bottom of the bag, a to d = opening of the bag. Dotted line c to f 
indicates the place for separating the fabric. 

In the manufacture of hose and similar textile fabrics the 
weave given in Fig. 694 (double plain, one end face to alternate with 
one end back in warp and filling) is used. 

Double Cloth Fabrics in which the Design is Produced by the Stitching Visible 
upon the Face of the Fabric. 

Worsted Coatings. 

Fabrics of this style are a division of the double-cloth in which the binding of both is 
arranged so as to form patterns of any required design. This binding of the two fabrics has to 
be done as firmly as possible all around the outline of the design. The double fabric has to 
become a single cloth, warp and filling ways, all along the outline of the figure or effect. It has 
to be bound not only at intervals as in the previously explained stitched double-cloth, but into 
one compact fabric throughout the entire length of the piece, upon the warp-threads, and across 
the fabric upon the filling ends which form the outlines of the figure. 

Double-cloth fabrics in this arrangement of binding may be made as fanciful as required, 
but in the manufacture of worsted coatings and similar fabrics they are generally confined to 
striped and small check figures. 



j .Tic^ST | 


',■*«« - Aw.*** 


|oL c. 


r-.mmmmmmmmMWA 


1 

1 



139 



Textures for these Fabrics and Arra?igement for Binding. 

These fabrics are generally constructed on 2 threads face, I thread back (binder), and the 
stitching is done with the back-warp binding over 2 face-picks. For example, take Fig. 698 for 
the motive of the design and Fig. 699 for the complete weave. 

Repeat: 42 warp-threads and 24 picks. 

It will be readily understood that the stitching of the back-warp in the face fabric will form 
impressions on the latter according to the figure employed for the motive of stitching the fabrics. 
Again, through the places where the double cloth is left unstitched, the fabric will get an em- 



■ ■■■ ■■■■ 



■ ■ ■ 
■ ■ 
■ ■ 
■ 


■ 
■ ■ 

■ 


b ■ ■ a 

D B B B B 
■ ■ u ■ ■ 
■ ■ ■ B 


■ 
■ ■ 


■ 


■ 


■ ■ ■ ■ ■ 


■ 


-■ ■ ■ ■ 


■ ■ 


■ ■ ■ ■ 
■ ■ ■ ■ 


■ ■ 


111 


■ 


■ ■ ■ ■ 




■ ■ ■ 


■ 


■ ■ ■ ■ 


. i 


■ ■ 


■ ■ 


■ ■ ■ ■ 





IuJ^j^JjIJ 



I ■ ■ 
Fig. 698. 



" 


■:: r. 
::::::: :: 
:■ :: 




: "::■":: 


: b 














::_■:: 




■:: :: ■ 






1::" :: 










' "'•■!! 




':■":: "::■ 






■":: 














::..■.:;., 


:'/m 




::_■; 














.: "::■":: 


'::u 




"::■"" 






< "n ; 3 " 




: !!:::::: 










■ ::_ :: 










: H 






■ :: 
".m a 














::"o: 


::''■::*' :: 






.""'■" 


". "::B"E5 




:: ■:: 

: ::::::: 
::a 
.■■:.. 










::^b:. 




::!'■• 


■□^ i;,,B:: 

::■":: "::■" 
a us. :; 








"::■" 




■■::■£ 


:: "gb~'g " 


1 


: ::::::: 

3_ 3 














■:: :: ■:: 
:::::::: :::::::: 

::■ :: ::■ 



Fig. 699. 



bossed effect, similar to that of 2 pieces of cloth embossed with the needle, the binding taking 
the place of the latter. The cut effect will be more prominent when 2 beams are used, one for 
the face-warp (ground) and one for the back-warp (binder), and putting more tension on the 

beam carrying the binder. The -„ twill for the face, having the backing working on plain 

weave, may also be used. 

Fig. 700. Motive of the effect. 

Fig. 701. The complete weave to produce the same, executed on above stated principle 
Repeat : 36 warp-threads and 36 picks. 



E B B ■ ■ 







: ■ 




■ ■ ■ ■ E ■ 


r. 


■ ■ ■ ■ ■ ■ 




■ ■ ■ ■ 


■ 


■ ■ ■ ■ ■ 


■ 


■ ■ ■ ■ ■ 




■ ■ ■ ■ 


■ 


■ ■ ■ ■ ■ 


■ 


■ ■ ■ ■ ■ 




■ ■ ■ ■ 


■ 

■ 


■ ■ ■ ■ ■ 
■ B B ■ ■ 


L 


■ ■ ■ ■ 




■ ■ ■ ■ ■ ■ 




■ ■ ■_.. ■ ■ ■ 




■ ■ ■ ■ 


■ 


B B E B E 


■ 


a D ■ B ■ 




B B _"" a B 


■ 


■ B B B B 


■ ■ ■ ■ BE 


1 ■_.. ■ ;_'_■- ■ 



::::n ::::* i:i: 
r / t \_ _::■::_ „Ji,,»„ ,„ : -,, 
::::■"" ::::""" :::;" 
„::„::„ ,.;;■!:;,. ,,;:,.:;„ 
:::: ::;;■"" :::; 

..:;,. ..:;,.;:.. ..;:■;;,, ,.::■ 

;;:: ::;:■"" ::::■ 

,. :: ,.;;,. ,.:;.,:;.. .,;:?;:,, 

:::: :::; :::;■"" 

■::.. ,.;:.,::.. .,::■;:,, ,.;;S 
■"*' :::: ::::■"" :;::■ 

..::■:;,. .,;-.■>;.. ,. : ,:.,: ; .,. 

:::;■"" :;::■"" :;:; 

r. s /.;■::_ „^„^„ ,S%,. 

_:;■:;_ „«,,«„ „•*,,>;„ 

;;::■"" ;;:: :::; 



::..: 


::::b :: 




::■:: :: : 
:::::;:: :::::::: 

::■ 


:;a: 
:;b" 


:: :: 
:: :::::::::: :: 
:::: :; 




::b:: :: :: 
:::::::: :::::::: 
::■ :;:: 




::a:: 



■:: 

■" 

:; 

:: 
:::: 

:; 

:: 



Fig. 700. 



Fig. 701. 



In worsted fabrics (also woolen fabrics) forming stripes composed of different weaves, in 
which it is desired to make the changing from one effect or weave to the other very prominent, 
by means of a deep or pronounced cut line, use a method similar to the one above explained, i. e. 
" the double-cloth fabric changing into single cloth at the respective last ends of the one weave 
or effect, and the first ends of the other." The only change observed in the present kind of fab- 
rics, compared with those explained before, is found by combining both fabrics into one through 
lowering the face-warp into the back filling. In this manner designs Figs. 703 and 705 are 
constructed. 



140 

Fig. 702 represents the motive to weave Fig. 703, and Fig. 704 illustrates the motive for 
weave Fig. 705. 

Fig. 703. Repeat: 18 warp-threads, 6 picks, h for raisers, a and a for sinkers. 
Fig. 705. Repeat: 36 warp-threads and 6 picks, b for raisers, a and □ for sinkers. 



BB B SB 1 


BB ■ BB B 


a a sa bb 


B B BB BB 


! BB B BB B 


BB B BB B 







Fig. 702. 



: - n e ~e st "n "□ 
eeee eeeee eeee 
be b eh . a 

E E E e 



EEBE _EE 


JE nScHH i 




OEEEE EEEE 
EE .B 


EEBE h EE 


e s - e:e 

:eeee _bbeb 

: be " :'jh 


E B E 


: e b 



BEEE BEEE EEBEB 

ie b be. . . ebgt 
Fig. 703. 



Matelasses. 

These fabrics are chiefly used for ladies jackets or mantle cloth, hence the name " matelasses." 
The face fabric is mostly silk or fine worsted, the back all cotton, or cotton and woolen. The face 
and the back are also two separate fabrics, having an extra "wadding" pick between each, which 
will greatly help to enrich the embossed effect characterizing this line of fabrics. The figure is 
produced exactly on the same general principle as that explained before. In addition to this 



BE E E E E — E B E E " S E 
EEEEE.EBEE EEEEE EEEE BEBBB EEEE 
EE EE E B E E E EE E 



BB :■ BB BB BB 



us am , bb :: bb bb ; ■■ : 



na bb 11 bb: 



Fie 704. 



: e e e e e :■; e 

ieee eeeee eeee bbbbb 

e e e e _ee .. _bb .: 

Fig. 705. 



binding different weaves for the face effect may be employed by using twills and other weaves in 
floral and ornamental figures for design. In some of the lighter grades of these fabrics no 
interior or wadding filling is employed, but simply the two cloths as explained at the beginning 
of this article. In these fabrics nearly the same effect is obtained for the face appearance, 
though of course the figures do not stand out as prominently as when wadded, and the fabric is 
not as stout. 

Quii.ts. 

Plain Piqui, Fabrics. 

Another line of textile fabrics, constructed on the same principle as the coatings and mat- 
elasses, is found in quilts, bedspreads, toilet-covers and similar fabrics. These fabrics are gener- 
ally made in white. In plain pique fabrics the back-warp forms lines across the fabric. Fig. 706 
shows a draft for such a fabric requiring 4-harness for face-warp, 4-harness for 
back-warp, = 8-harness. 

Repeat : 6 warp threads, 10 picks. 
h represents the face-warp, ■ represents the back-warp. 
Examination of the design shows : 
Picks I and 2 interlacing the face-warp on plain weave. Pick 3 is a backing pick, in which 
the entire face-warp is raised, and also every other one of the back (forming in this manner the 
first pick of the plain weave for the back). Picks 4 and 5 are a repeat of picks 1 and 2. Pick 6 
is a backing pick, in which the entire face-warp is also raised, and also the back warp-ends not 
raised in pick 3. Picks 7 and 8 are again a repeat of picks 1 and 2. Thus far the weave has 



1" BE BE BE BE 

EB EB BB Efl \ 

E E E E 

E E e E 

;: BEBEE EEBE 



Fig. 706. 



141 

formed two separate fabrics, each one worked on its own system of threads. By picks 9 and 10 
these fabrics are united into one cloth by raising the back-warp into both picks and working the 
face-threads on the plain weave as was done before on picks I, 2, 4. 5, 7 and 8. This combina- 
tion of both fabrics gives us the required line across the fabric. If it is desired to produce this 
fabric for a heavier article, one or two " wadding " picks may be introduced between both fabrics, 
as in Fig. 707, through pick 5. 

Picks 1 and 2 face. 

3 back. 

4 face. 
" 5 interior (wadding.) 

6 face. 



' c:; nn □□"□□ 
:::: :::: ::□ no i 
:■:□ n :: n 



■ ■■ 
:::::::: 






1:; °a "□ °a ° " 7 back. 



Fig. 707. " 8 and 9 face. 

" 10 back. 
" 1 1 face. 

In inferior qualities these fabrics are made by omitting the two backing-picks ; hence the 
binder-warp has to float on the back. The wadding pick taken for these fabrics is of a very heavy 
size so as to prominently raise the rib effect. 



e ;; □ 



Fig. 708. 




Fig. 709. 






Such an example is shown in weave Fig. 708. 
Repeat : 2 ends face, 1 end back in warp and 8 picks. 
The arrangement of the filling is — 

Pick I face, binder. 

„ >face, regular. 

" 4 wadding. 

c >face, the same as picks 2 and 3. 

7 wadding. 

<S face, the same as picks 2 or 5. 
Diagram Fig. 709 illustrates the section cut of a fabric interlaced with weave, Fig. 708. 

Figured Pique. 

These fabrics are also executed on the principle of the double cloth. Both cloths are quite 
plain in their weave, but the face is much finer than the back. White is the color in which they 
are generally made. A "wadding" pick maybe used to give bulk to the cloth, and the em- 
bossed effect likewise characterizes these fabrics. The design for the fabric is also formed by 
binding both cloths together. The thicker the wadding and the larger the figure required to be 
designed, the more prominent will be the effect. Tn many of the lighter fabrics no wadding 
pick is used, but the two cloths are simply stitched together. 



142 

Fig. 710 illustrates a weave for these kind of fabrics (without a wadding pick). Fig. 711 is 
the motive of the stitching for effect in Fig. 710. 

A consideration of the face-picks will show in every one of them some of the binder-warp 
up, according to the figure required. 

This will easily explain the stitching of the fabric. As both warps are white, no change in 
color can be seen but the effect will be produced by the weave, as every binding back-warp thread 
will pull in the face of the fabric, in any place where it is raised on a face-pick, somewhat similar 
to the stitching together of two bulky fabrics with a sewing machine. Large designs, such as 

*gbgg gg _ gg gg ggbgg ggbgg gg gg gg ..a 
bg :: :; g g bg a bg g g g a 

GB G G G G GB G GB G G G G _ 



]-■ - a ■::- "' 

■ ■ :.:■ ■ 
■ : .. ■ i 

■ ■ 

■ ■ ■ 

■ ■ ■ 

■ ■ ■ 

G G GB G G G G G G G GB GJJ ■ LB : 

g ::::■:::: :::: :::: gg ggbgg :::: gg gg ggbg u mr j 

G ■:: G G g g a:. G g g bg b ■ i 



Fig. 710. Fig. 711. 

flowers, etc., are woven with the Jacquard. As these large figures have a long floating of the 
binder-warp (back-warp), while not being used for the outline of the figure on the face, the back 
warp-threads as a consequence float on the back; and as this floating is injurious to the fabric, 
we must use, in addition to the front-harness for the face-warp, a second set of front-harness for 
the back-warp (binder), through which the back-warp can be worked on plain. 

Reeding these Fabrics. 

Threads 1, 2 and 3 are drawn in the first dent of the reed; threads 4, 5 and 6 are drawn 
in the second dent. 

RIB FABRICS 

Under this division are classified fabrics which, in their method of construction, have high 
prominent and elevated places exchanging with lower or compressed ones. This method of ex- 
changing is generally arranged to run in the direction of the warp, but can be arranged for a 
diagonal direction, or even filling ways. The principle of construction of the weaves for these 
fabrics is nearly related to the common rib-weaves for single cloth. 



faGGGGGGG^nan - GGGGGGGGGGG: : GGGGGGGGGGGG 

IE BBB B . ■ B B D 9 ■ B B B B ■ ■ 

GGGGGGGG GGGGGGGGGGGG GGGGGGGGGGGG 

, „ „„„„ ■ ■■■ BB aBBSBBCBBBBB 

1GGGGGGGG ... I GGGGGGGG 



Mi.BBBBBB BBBBBB 

:: : : :;:gg 

QH aBBBBB:CBBBBB': 

■■■ ■■■ IIB.BBBB BBBBfl B h 

GGGGGGGG . GGGGGGGG GGGGGGGGGGGG G::: :G:;::;;:::x:GG A 

maaaaQBOjjDEia ibbbqbbbuuoed i; : b ■ h b b ■ | ■ ■ b b ■ b st 

Fig. 712. Fig. 713. Fig. 714. 

Weaves for rib fabrics forming their line (rib) effects in the direction of the warp are gener- 
ally produced by floating every other pick for 4 to 12 (or more) threads, and then raising these 
threads so floated for two, three or more warp-threads. The picks situated between them are 
interlaced either in plain or twill weaves. 



143 

For example, Fig. 7 1 2 The foundation weave is the common plain weave. Picks 1 and 3 
(and picks of uneven number) interlace in the entire repeat ( 1 2 warp-threads) on this plain weave, 
while picks 2 and 4 (and picks of even numbers) technically known as " rib-picks" float below the 
first 8 warp-threads and over the next (last) 4 warp-threads. 

Fig. 713 illustrates a similar arrangement. In this weave the — i 4-harness twill is used 
for every pick of uneven number, while the picks of even numbers, the rib-picks, work the same as 
in the preceding example. Repeat: 12 warp-threads and 8 picks. 




Fig. 715. 



Fig. 714 illustrates an example in which every uneven numbered pick interlaces for 12 warp- 
threads on the common plain weave (floating below 3 warp-threads), while every even numbered 
pick (rib-pick) floats for 12 warp-threads on the. back of the fabric and next forms the face-rib 
over 3 warp-threads. 

Diagram Fig. 715 represents the section cut of a fabric woven with weave Fig. 714. A 
careful examination of it "will show that warp-threads 4 to 15 inclusive must make interlacings 
with the filling which are not required by warp-threads 1, 2 and 3. To get perfect work and 
sufficient production it is advisable to have double beams — one beam to contain the first 3 warp- 
threads, the other the remainder. Repeat : 15 warp-threads and 4 picks. 

Another division of rib-weaves is derived by omitting the special rib-pick, _J_.,_J.i_, 
using instead of it, every pick to form partways (across the weave) rib-pick and ' [! ir3"ii[:"a"u5 
partways regular weave. Every pick in rotation is arranged for " rib-pick " effect 7 D " CBI J? naBQ @ 
(floating on back) when the adjacent picks interlace on common weaving. 

This method of alternately exchanging every pick in certain places for " rib-pick " when its 
preceding and following picks are used for forming the weave (on the face of the fabric), is con- 
sumed until the repeat is derived. 

Fig. 716 represents such a weave, designed for 12 warp-threads and 4 picks repeat. The 
float of each pick (for " rib-pick ") represents 6 warp-threads as illustrated by a type. 

For the remaining 6 warp-threads in the repeat of weave, every pick interlaces with the warp 
on the regular plain. 




Fig. 717. 

Diagram Fig. 717 represents the section of weave Fig. 716 This method of using every 
pick partways as rib-pick (float on back) and partways to interlace with the warp on a weave, and 
having this arrangement alternated in each adjacent pick will, in addition to the rib-effect pro- 
duced, prove of great advantage in the manufacture of fancy trouserings, in which every other rib is 
required to appear in a different color. Using each pick (taken in rotation) with the alternate ex- 
changing of two colors, each alternate pick the same, will (using one color for warp over the en- 
tire width of the fabric) produce the above mentioned effect. Such stripe effects will be yet more 
prominent if the warp in color arranegment is used according to the filling forming the weave. 



144 



<aaaaaa:i:: E ■ 

CB ■ B > 

iBDBQBDBuEiaaa forming the new weave. 



Weave Fig. 718 illustrates a rib-weave constructed on the same principle as 
weave Fig. 716. The distinction between them is the difference in size of ribs 
Warp-threads 1 to 8 form the large rib I while the smaller 
Fig. 71S. rib II (y 2 the size of I) is formed by warp-threads 9, 10, 1 1 and 12. 

Fig. 719 illustrates a rib-weave in which the 4-harness -„ twill is used for the face-weave, 

every pick being used for one-half the repeat in width of weave for floating, thus forming ribs of 
equal size. 

Repeat of weave: 16 warp-threads, 8 picks. 

1 11 



□a a 
bb mc 
aaaaaaaasa bb 

i BB 

aaaaaaaa bb bb.j 

EH 

~. 

a bb aaaaaaaaa 
Fig. 719. 



■ aaaaaaaaa bb i a 
- 

B BB 

n 
iy_BB .■■aaaaaaaa 

Fig. 720. 



..■.;.;.:. ' 
B : BB 

aaaaaa: 

BB ■ 

I BB . BL 
- 

'bb . aa aaaa 
Fig. 721. 



B BB B B BB B B BB IB 
, BB B ■ II ■ U a,B ■ B 

■ B BB B B BB B MM 

a bb a u be it m mm : 

BB B B BB O B BB BO 
U B B BB B S BB B ■ 

. B B <■■. B B BB B B. BB 
B BB E B BB 1 BB B 

BB ■ ■ ■■ ■ B BB ■ B 

B B BB ■ B BB B ■ ■ 

■■;■■■ B BB B ■:■■ B . B BB.. 1 
BB » B BB IS BBS B 

■ ■ B BB ■ ■ BB B ■ 



Fig. 722. 



The direction for running the twill in both ribs in weave Fig. 719 is the same, but which is 
differently arranged in weave Fig. 720. 

Fig. 720 has a similar repeat and the same weave (- g 4-harness twill) for face. The differ- 
ence is in the direction of the twill in the face-weave, which has a different direction arranged for 
each rib. 

Weave Fig. 721 illustrates a further step in figuring rib-weaves. In this figure rib I is inter- 
laced on its face-weave by the g 4-harness twill, and rib II with the common plain. Repeat 

of weave: 12 warp-threads and 8 picks; rib I calls for the first eight warp-threads ; rib II requires 
warp-threads 9, 10, 11 and 12. 



- : B BBB B B BBB B 1 

a ■ bbb a a a ■■■ 

. aaa a H a a bbb 

aa::::a::aaaa aaa^aaaaaa 
bbb .:■:■..! a a bbb: . - 

aaaaaaaaaa aaaaaaaaaa 

aaa a a a ■ 

;::;:::;::::;::::::: 

bb a a 9 

aaana:: 

a a b aa 

aaaaa; 
a a aaa 

a::::::: 
a a bbb 

aaaaa:- 

a a in 
laaaaa:;. 






[ ■■■DGHGBr 



.a a B m 

no bbb c 
a ' aim 



. fl ^BI3B^_jB .^B 

Fig. 724. 



:::;.::■:; 
a a a a 

hi aaa Baaaaaaaa a a a a 

Fig. 725. 



Weave Fig. 722 illustrates still another step in the figuring of rib-weaves, observing for the 
general arrangement 2 face picks, to alternate with one rib-pick. Repeat of weave : 24 warp- 
threads and 21 picks; rib I is produced by every third pick with the first 4 warp-threads, and 
rib II by warp-threads 5 to 24, with two successive picks out of three picks in repeat of arrange- 
ment, and interlacing as face-weave with the regular 7-harness corkscrew. 

Fig- 7 2 3- Repeat of weave: 28 warp-threads and 20 picks. 

This weave illustrates the application of a pointed twill for face-weave of every other rib, I, 
III, etc. Every even numbered rib, II, IV, etc., is produced by 4 warp-threads ; one pick floating 
on the face over all four warp-threads (rib-pick in the adjacent ribs) to exchange with one pick 
interlacing on common plain. 



145 

Fig. 724 illustrates the face-weave for Fig. 723, as used for rib I and III. Repeat : 20 warp- 
threads and 10 picks, and is the pointed twill derived out of the i — j — - — 5 — —^ 10-harness, uneven- 
sided twill. 

Weave Fig. 725 illustrates a rib-weave, constructed in four changes. Repeat: 2 8 warp-threads 
and 4 picks. 

The next sub-division of rib weaves embraces the diagonals. These can be further classified 
into two divisions. Those designed with an extra rib-pick and consequently an extra face-pick 



[■"■"■ ■„■"■ 
Fig. 726. 



■ ■■■_■■_■■ 

w....yg.... „„.... J.J. „ 

;:::::::;;::":::::::::: :::: 

■■ ■■ ■■ ■■ 

:::::::::::::::::::::: :::::: 

[ ■■^ i M n M „■■. 

■ ■ "'aij" '|| ■■'" 

c::::::::::::::::: ::::non 

■ _■■__■■ JOB s M 

.....^....wg jjjj""jjj| 

;:•:[:::::.::: :::::::;:::::: 
ai hi ■■ ■■ ; 
c::;:::::::j :::::::::::;:::) 
■■ ■■ mm urn 
nu:;u:: ::::::: ::::::::■•.; 

■ ■■ ■■ ■■ ■ 
:::::::: :::::::::::::::::::: 

■■ ■■ ■■ ■■ 

:::::: ::::::::::::c::::::::: 

■■ ■■■■■■ i 

:: :::::::::::::::""::::::: 

■ _■■_■■__■■____■ 

i .SiF ; Bir :: iiir [: iiii 
Fig. 727. 



:::::::::::: ■ ■ ■ 
■ ■ ■ ;::::::::::: 



Fig. 728. 



■■ ■■ 

:::::::::::::::::: ■ 
■■ ■■ 

■■ 
■■ ■■ 

■ ■ 
■ ■ ■■ 

■■ 
■■ ■■ 



.■■....■•.. 



Fig. 729. 



(see Figs. 726 and 727), and the diagonal rib-weaves in which every pick is used partways for 
" rib-pick," and partways for face-pick. In this, manner weaves Figs. 728 and 729 are constructed. 

Weave Fig. 726 has for its repeat 12 warp-threads and 24 picks. The face-picks interlace 
in common plain, while the rib-picks float under 8 and above 4 warp-threads. 

Weave Fig. 727 requires for its repeat 16 warp-threads and 32 picks. The face-picks have 

for their weave the ? „ 4-harness twill, while the rib-picks in their repeat in 16 warp-threads 

float under 14 and over 2 threads. 



r ■ .1 
:::::::;a 

■■1 
[xx;u 1 
4 ■ 1 

:::;:;:;■ 

■■1 



■ 
Fig. 730. 



-<■ ■■■ ■■■ ■ 


■■ 


■■■ ■■■ ■■ 


::■ ■ ■ 












■ ■ ■ 






■ ■ ■ 




■ ■::::■ 


■ ■ 


■ 


■ 


■2 ::■ 


■ ■■■ 
















■■■ ■ 


■■ ■■■ 


■■ 


■ ■■■ ■■■ 










■ ■■■ 
















■■■ ■ 


■■ ■■■ 






■ ■ 


■ 2 


:b 


■ ■ 










■ 


■ :: hi 






■ ■■ ■ 








■ ■ 


j ::■ 















■■■ ■■■ ■■■ ■■■ ■■■ 



Fig. 731. 



inn 
□□a aan 



■■■ :n ■■ 



■■ ■■ 
■ ■ 
■■■ ■■■ 



:::::: :: 

:: a 

::: :::::: 

□." j 



■".3" r . 




,.:: ..,-:• 


■■■ ■■■ 




■■■ ■■■ :: □ 



■■■ ■■■ 



is ■ :::;:: :::;;: ■ ■ ;::::; :::::: 



Fig. 732. 



Weave Fig. 728, as previously mentioned, is a rib-weave in which every pick is used part- 
ways for " rib-pick," and the remaining part forming, by interlacing with the warp, the face- 
weave. Repeat: 13 warp-threads and 13 picks. Width of rib-float 6 warp-threads, exchanging 
with 7 warp-threads interlaced on plain weave. 

In weave Fig. 729 the same principle, that of using each pick for rib-float and face-pick, is 
observed. For face-weave a common-twill is used. Repeat: 19 warp-threads and 19 picks. 
Rib-float is 9 threads, and interlaces in warp for face ^ — - — s — - — v , = 10 threads. 



146 

Another method of producing rib-weaves is to combine regular double cloth at certain 
places with a single cloth. In such cases the fabric when forming double cloth will not be 
stitched together, as, for example, weave Fig. 730. Warp-threads I, 2, 3 and 4 form a common 
plain rib-weave or single cloth, while warp-threads 5 to 12 interlace (without binding) with the 
filling on the regular " double plain." Repeat of weave: 12 warp-threads and 4 picks. 

These rib-effects in double cloth can also be produced entirely by the binding of both 
single-cloth fabrics. It may be arranged to form ribs in the direction of the warp and effects in a 
diagonal direction as shown in Fig. 731. Repeat: 24 warp-threads and 24 picks. ■ represents 
the weave for regular double-plain and q shows the stitching of both fabrics in a diagonal direc- 
tion for the required rib. 

Another step for producing rib-effects in double cloth is taken by exchanging the face-cloth 
with the back, and the back with the face. This method of exchanging may be arranged to run 
warp-ways (vertical) or in a diagonal direction. For illustrating this method Fig. 732 has been 
designed. Repeat : 16 warp-threads and 16 picks. 

Fabrics produced by means of weaves designed on the regular double-cloth system, such as 
weaves Figs. 730, 731 and 732 and other similar weaves, do not have the rib-effect appear 
so prominent as in the case of the preceding weaves, all of which contain the peculiar pick 
known as rib-pick, rib-float, etc., and which assists, for the reasons given, to such a great extent in 
makmg the rib-effect prominent. 

THREE-PLY FABRICS. 

It will be readily understood by any one that has carefully studied the structure of two-ply 
fabrics that by the same method and principles employed in combining two single cloths into one 
fabric, known as two-ply or double cloth, three such single-cloth fabrics can also be combined 
into one fabric. 

In the construction of a j-ply fabric a regular set of zvarps and filling for each of the three 
single cloths is required, thus dealing- with three systems of warp and three systems of filling in 
designing. To impart a more perfect understanding, the construction of a 3-ply fabric from its 
beginning to the finished weave is shown, and for this purpose three single-cloth fabrics inter- 
laced on the plain weave are selected. 

□naannnGDDDDnnDa 



GanaacoBQQHnLfiQD 
Fig. 733. 



nrGcncanDDcn 
iii □ :: ; 

S3 15 

> :: d 
s: b 

. : 

:: □ :, 

B a ' 

: 



Fig. 734. 



1; 

[) H 

a B 

'■' 

is □.'.'": 

b :: 
'■ 1 

; " :: □ 1 

H B J 

■ : 

< a a 

a . .h . .: 

Fig. 735. 



a :: 



Fig. 736. 



Fig. 733 illustrates the first set of the plain weave, or the weave for single cloth number 
one (■ type). Warp and filling-threads used are numbered on the left side and the bottom of 
the design, and are indicated by a type. "One thread taken and two missed" in each system for 
the other two single cloths. 

Fig. 734 illustrates by □ on warp-threads 2, 5, 8, 11 and on the corresponding picks, the 
interlacing of the single cloth number two (plain weave). 

In Fig. 735 the interlacing of the third or last single cloth is shown on warp threads 3, 6, 9, 
12 and the same numbered picks (n the type used). 

Next, raise for the picks of the lower single cloth (in the 3-ply structure) each warp- 
thread of the two upper cloths (face and interior cloths) ; also, raise the warp-threads of the face 



147 

cloth on the interior picks. This method of operation is illustrated (successively from Fig. 735) 
in weave Fig. 736 by u type. 
In this is shown ; — 

Pick 1, first pick of face cloth. 

" 2, " " interior cloth (face raised). 

" 3, " " back cloth (face and interior raised). 

" 4, second " face cloth. 

"5, " " interior cloth (face raised). 

" 6, " " backed cloth (face and interior raised). 

And thus the repeat : 6 warp-threads and 6 picks, allows 2 warp-threads and 2 picks for the 
structure of each fabric. Weave Fig. 736 thus produces three distinct single cloths resting in the 




loom after being woven one above the other, as shown in the sectional cut in diagram, Fig. y^. 
The next process" is the combining of these three single cloths into one fabric, which is 
technically known as the " stitching." To effect this in a proper manner combine the 
backing-cloth to the interior cloth, and this in turn to its face. 

In weave Fig. 738 this method of " stitching" is clearly indicated. In this 
figure the b type illustrates the three single-cloth fabrics, equal to the weave illus- 
trated in Fig. 736 by four different characters of type. In Fig. 738 a illustrates the 
Fig. 738. stitching of the interior cloth to the face-cloth, and the q the stitching of the back- 
cloth to the interior cloth. 



i^r 


T'FT V 1! 1! 


rrnnn 




















































a 


; ] 




Fig 739. 

Diagram Fig. 739 illustrates the section of a 3-ply fabric interlaced by means of the weave 
previously shown (Fig. 738). 



FOUR AND FIVE-PLY FABRICS. 

Sometimes it is desired to have produced fabrics constructed out of more than three single 
cloths. 

Weave Fig. 740 clearly illustrates the construction of a 4-ply fabric. 
The s type represents the interlacing of the four single cloths. 



148 

■ on picks i and 9 illustrates the stitching of the second cloth to the face (or first) cloth. 

b on picks 2 and 10 represents the stitching of the third cloth to the second. 

e on picks 7 and 15 illustrates the stitching of the back cloth to third cloth, and which 
completes the stitchings of the four single-cloth fabrics into one, and technically classified as 
" four-ply." 



imnnp r m h ( fonnnn 







"■'"J 






J 






! j 






;J 






J 






;i 


! : . ; 




1 

■1 1 



I ■ . ■ I _' : I! : ■■ ■ 

1 ■ ::.■■* 

Fig. 740 



I I' i i 1 I 

^■DaacDDDnajDGDDDnDQ 

Fig. 741. 



Weave Fig. 741 shows the construction of a 5-ply fabric. 
a type represents the interlacing of the five single cloths. 
■ type on picks 1 and 1 1 illustrates the stitching of cloths 1 and 2. 
a type on picks 2 and 12 illustrates the stitching of cloths 2 and 3. 
type on picks 8 and 18 illustrates the stitching of cloths 3 and 4. 
B type on picks 9 and 19 illustrates the stitching of cloths 4 and 5. 

And thus closes the complete stitching of the four single-cloth fabrics into one, technically 
known as " five-ply." 




Pile Fabrics. 

Textiles classified as " pile " fabrics, form a separate sub-division of woven articles, and are 
characterized by the soft covering which generally overspreads and conceals, to a great extent, 
the interlacing of the warp and the filling. In this division of textiles, are to be found some of 
the grandest and most complicated products of the loom. In every pile fabric one series of 
threads is employed for producing the ground of the fabric, while a second forms the pile, so that 
two distinct systems of warp or of filling are always necessary in the manufacture of these fabrics. 

Technically, they are divided into pile fabrics in which the pile is produced by an extra 
filling, and pile fabrics in which the pile is produced by a separate warp in addition to the 
ground warp. The greatest variety of effects can be produced in the latter sub-division, and 
fabrics produced on this principle of weaving, find a very extensive use. 

Pile Fabrics Produced by Filling. 

Velveteens, Fustians, Corduroys. 

These fabrics require for their construction one kind of warp ; also, in most fabrics, one kind 
of filling. If one kind of filling is used the same is consequently employed for the " pile " picks and 
the "ground " or " foundation " picks of the pattern. If two kinds of filling are used, one kind is 
employed for the pile and the second kind produces the foundation-cloth. In preparing the design, 
the arrangement for the ground and pile picks, is either alternately one pick pile, one pick ground, 
or, two picks pile, one pick ground, or, three picks pile, one pick ground, four picks pile, one pick 
ground, etc. The arrangement indicated as the second method is the one most generally used. 
For the ground structure of the fabric, " the plain-weave," or, " the double plain, warp-ways," or, 
" the 3-harness twill," or, "4-harness even-sided twill," are the ones most frequently used. In 
any of these cases the filling for the pile is floating over 3, 5, 7 or more warp-threads. 

The floats of the pile are afterwards cut open with a knife constructed especially for it. This 
method of cutting the pile for the fabrics is old, and dates back to the beginning of the fifteenth 
century. 

Cutting the Pile by Hand. 

This procedure is as follows : The fabric is stretched on the cutting table, which has (in most 
instances) a length of from 55 to 70 inches, and is fastened to it by means of clamps. Next, the 
cutter takes his knife for cutting the pile, which consists of a long steel bar formed into a very 
sharp knife at its end, and provided with a guide, consisting of a narrow piece of sheet-iron 
doubled and forming a groove, fitting on the knife ; the part of this piece of sheet-iron extending 
from the knife, is formed into a needle, of a length which is regulated by the length of the pile to 
be cut. The cutter inserts the needle into the row of floats which is nearest to the selvage, and 
pushes the knife (in direction of the warp) through the entire floats in the one direction ; the next 
row of floats is treated in the same manner, and this is continued until all the rows are cut. In 
the lower grades of these fabrics, only every other row of floats is cut, and consequently the 
thickness of the pile is reduced in proportion. Again, stripes of cut and uncut pile (regulated as 
to dimensions in width entirely at will) are produced. 

After cutting open the pile over the surface of the table, the clamps are opened and the next 
length (of 55 up to 70 inches) is fastened. This process is repeated until the entire piece has its 
pile cut. Every length of the table generally calls, in the lower qualities, for 500 to 600 runs, 
while the better grades require from 800 to 1 200 runs in a single width of those fabrics. This 

(149) 



150 

cutting by hand is naturally a very slow and expensive job. (Flour-paste is often applied to the 
back of the fabric, so as to make the cutting of the pile easier and safer.) 

Of late years, machines have been invented to cut this pile and have proved successful to a 
certain extent. 

After cutting the pile and subsequently mending any imperfections, either produced during 
the process of weaving or cutting, the fabric is turned over for the dyeing and finishing. 

Designs for Weaving these Fabrics. 

As mentioned already, one warp is used both for interlacing the ground and binding the pile- 
filling. The ground-weave is generally either S3 or,o53B or, !"■ or, "?m etc., while the pile-filling 
is floating 3, 5, 7 or more ends. ammn 



■ ■ : 
:: ;: :; u 



1 1, ■ ■ 



Fig. 742. 





Fig. 743. 



Fig. 744. 



Fig. 742 represents a common weave used for these fabrics, and constructed with a texture 
of 4 warp-threads, 6 picks in one repeat of the pattern. ■ are the pile-picks, a the ground-picks. 
Pile, 1 up, 3 down. Ground, " plain," two picks pile to alternate with one pick ground. 

Fig. 743 represents the sectional cut of the woven fabric before the pile is cut. 

Fig. 744 represents the corresponding section with the pile cut. The letters and numbers in 
both designs are identical. 

Pick A is the ground pick. 1 up, 1 down, to be exchanged in pick 4 (not represented in the 
drawing) by 1 down, 1 up. Picks B and Care the pile picks, which are duplicated in every repeat 
of the weave. Arrow 5 in Fig. 743, represents the place for the cutting of the pile for pick B. 
S, in Fig. 744, represents the pile as cut. Arrow S 1 , in Fig 743, marks the place and direction for 
cutting the pile for pick C. S l , in Fig. 744, represents the pile as cut. In Figs. 743 and 744 
the ground pick is shown outlined, while Fig. 743 has the one pile pick B marked black, and 
the other pick C illustrated as shaded. Fig. 744 illustrates both pile picks, and equally represen- 
ted in black. 

This change in Fig. 743 has been made to simplify the construction of the fabric and for 
the benefit of the novice in designing. 



■ ■ i 

c;:; v.u zi 

■ ■ 

■ ■ 
ee ee 

B ■ TCI 
L ■ :'" : ■□ 
ee ee 

■ ■ 

■ ■ 
qobhcdeb 

Fig. 745. 



1 :: E :: :: e e 



Fig. 746. 



ee ee ee ee 



Fig. 747. 



bccct c _ B"rc-; c 
_ z_ ■ :c ■ 
■ ".?■ 

■ t ■ 1 
:; e :: :: h'..h e e i 
b bc: c; ■ 1 



Fig. 748. 



Fig. 745. — 4 warp-threads, 6 picks in 1 repeat. ■ equal pile-picks. □ equal ground-picks. 
Pile is produced on I up, 3 down. Ground is produced on the common 4-harness rib-weave 2 2 . 

Fig. 746 represents a weave executed on 6-harness and 6 picks repeat; using for pile-filling 
(■) 1 up, and 5 down, while the ground-cloth is formed on the plain (a). 

Fig. 747 is designed for 6-harness, with 9 picks in one repeat ; ■ for pile-filling, e for ground- 
filling. Pile, 1 up, 5 down. Ground weave, 3-harness twill, warp up. 



151 



Fig. 748 represents a draft for a velveteen fabric, having 4 picks of pile-niling to 1 ground- 
pick ; the pile-filling floating over 7 warp-threads. The ground is interlaced on plain. 

A careful examination of this draft will show the possibility of obtaining, by means of the 
latter, a fabric which will take up the filling easily and yet hold the pile very strongly to the 
ground-fabric ; a point which is of great advantage in producing a firm and perfect fabric ; a velvet 
resisting the wear these fabrics are subjected to so frequently. This draft is designed for a high 
number of picks to one inch ; therefore, if the weight should have to be lowered on account of 
a considerably less number of picks, this weave must be changed accordingly, so as to bind differ- 
ently. For example, take picks 7, 8, 9, 10, and move the raisers one thread toward the right 
hand. If a sufficient number of picks are not in a fabric to warrant the binding of the pile solidly 



1: a 1 


1 




■ ■ 


a: ."_ 


■ 


■ 


■ ■ 


am : 




■ 


■ 


■ 


D .1 


1 ■ 




, ■ ■ 




WJ2J. 




■ :■ 




a ■ 


a r. 






:: iQ :: 


:; 


C»~l 


1 




■ ■ 




1 


■ 


■ 


■ 


■ 


■ 




■ 


■ 


:: ■ 


□ ai 


1 ■ 




■ ■ 





:::: 


■ 


nn □ 


■ 


■ 


■ 


■ 


■ 


1 


■ 






■ 


m 


■ 




■ 


H 




n ue 


:::: 



1. a a :: :; a a a ,a. a a 
Fig. 749. 



1BOJUI EM 

Fig. 750. 



:i:o :::) ::n no 



a [::: :::: :::: :j 



Fig. 751. 



■ ■ 


■ 


■ 


j 


au :::: :::: 

■ ■ 




:: J 

l 


■ 
a an an 

m u 


.," 


a 


D..M 


m 


j 


v, :::: ar. a 




:::: 


■ ■ 






■ 
1 :::: :;:: :::; 


■ 


:;[; 



Fig. 752. 



to the ground-cloth, by means of binding the former to the latter with one end, two ends up and 
separated by one thread down, must be used. In this manner weave Fig. 749 is executed, having 
five plush-picks to each ground-pick. Repeat: 10 warp-threads, and 12 picks. The float of the 
pile is over 7 threads, and each pile-pick is interlaced to the ground fabric by I up, 1 down, 1 up. 
All the pile-picks interweave under the same warp-threads (use every alternate warp-thread), 
while one of the two ground-picks intersects over the latter. This arrangement in the« 
design allows the picks to go easy in the fabric and naturally adapts itself for high filling 
textures. 

The proportion of the pile-picks to the ground-picks is always regulated by the required 
closeness of the pile. 

Fig. 750 shows the design for a 3-harness (- j) twill-ground in connection with 3 pile-picks 

to 1 ground-pick. The design repeats with 6 warp-threads and 12 picks. 

F'g- 75 l nas 2 picks pile, 1 pick ground; the design repeating with 6 warp-threads and 
9 picks. Designs Figs. 748, 749, 750 and 751 have pile-picks indicated by a and ground-picks 
indicated by a. 



-■ — ■ ■ 



■ ■ 

■ 



■ ■ 



■ ■ 




1 ■ 1 


!.. 


0:: u:: :::] an □□ : 




■ ■ 




■ ■ 


j 


r ,, „■ „„ „„ „■ 


1 

: :: 


■ . . " "■ 




c„_.» . ■ 




IT :". u ■ 


1 




:::) 



Fig. 753- 



Fig. 754. 



■ ■ ■ ■ 

■ ■ ■ ■ 

:: [; :: :: :: :: :: :: :: :: 



Fig. 755. 



Fig. 752 represents the float : f for the pile, (■) interlaced in a ground-fabric woven on the 

4-harness even-sided twill (a). The arrangement of the pile towards the ground is 2 to 1. 

Fig. 753 illustrates the plain ground in connection with the pile-floating, g . 3 picks 

pile to I pick ground ; ■ for pile, a for ground, in design. Repeat of weave : 18 warp-threads, 8 
picks. 

Fig. 754 shows one of the most frequently used designs on a repeat of 9 warp-threads 
and 12 picks. 3 pile-picks to 1 ground. ■ for pile, c for ground. Float of the pile- 
filling ! s . 

Fig. 755 illustrates the plain ground with the pile J — j — *— 7 . 2 pile-picks to alternate with 1 
ground-pick. Repeat of design : 10 threads in warp and 6 picks. ■ for pile, a for ground. 



o»-nr7T"Bnni-»rpan'-!BGnn 
[ a :"' a rr u • u ' i 
a a a a a: a a a a "a ] 



152 

Having given a complete idea of the construction of plain-faced fabrics, our attention is 
next directed to corduroys. 

Corduroys. 

These fabrics have stripes running the length of the stuff, but may also have them running 
in a diagonal direction. Again, they may form figures of any description. If forming the 
regular cords, they may also be made to vary in widths. 

Weave Fig. 756. 10-harness and 6 picks 8 5388ffiSSB8B85SB8§RS5S88S 
repeat of pattern. Ground-fabric is a plain-weave, H_ : "", a3 - "3 "", -" :: - 
■Sgdaijg^a^.g^gadS] pile-float, ' 5 ' 3 . 2 pile-picks to 1 ground- i"; Qa . s g" ; : ^""aa^ g'lda 1 
Fig. 756. pick. ■ for pile, a for ground. Fig. 757. 

Weave Fig. 757. 12-harness and 8 picks repeat of pattern. Ground-fabric, a double plain- 
weave, warp-ways, pile-float, L-g — 1 — i . 3 picks pile to 1 pick ground. ■ for pile, a for ground. 

Chinchillas — Whitneys. (Plain and figured effects.) 

These fabrics are produced upon weaves similar to those shown in Figs. 570 to 572. The cut- 
ting of the pile filling is done automatically during the finishing process by the "gig," and the pile 
thus cut is raised by the " whipper." In the construction of these weaves, as well as in arranging 
the texture, little importance is given to a compact, solid interlacing of warp and filling, especially 
as the condition of a soft and spongy nature is always required in the finished fabric. In some of 
these fabrics only two kinds of filling are used, the ground and the pile filling, while others are 
made with three kinds of filling — the ground, the pile and the interior filling. For fabrics of a 
plain character (as to face) use weaves such as the 4-harness broken-twill, the 5-harness satin, etc. 
Filling for face, for the interlacing of the pile or face filling, and the same weave, arranged warp 
for face, for the ground filling. Such weaves have been previously explained and illustrated 
in Figs. 570, 571 and 572, page 109. 

Regular double-cloth weaves are also used, arranged : 1 end face, 1 end back, 2 ends repeat in 
warp ; 1 pick face, 1 pick back, 1 pick face, 1 pick interior, 4 picks in the repeat. For face-weave 

the 4-harness broken-twill is generally used (filling up). For back-weave the = 2 or j twill. 

On the interior pick all the face-warp is raised, leaving the entire back- warp in the lower shed, so 
that this filling will rest the same as the wadding in the piqu6 fabric — between the face and back 
cloth of the fabric. The object of the interior filling is to increase the thickness of the fabric, 
and to cheapen the cost of manufacture by using a low-grade stock for it, which is neither visible 
on the face nor the back of the fabric. 

As previously mentioned, fabrics of this kind must have a soft spongy nature when finished ; 
so care must be exercised in not weaving them too wide in the loom, as but very little fulling 
will be required. For the stock for the face or pile filling, select a fine but short staple. After 
fulling and scouring, or only scouring, the fabric is gigged. The teasels cut the soft pile filling 
in the centre between the points of interlacing of the latter with the warp, and after running the 
fabric over the " whipper " before it passes to the dryer, the whipping process (beating) raises 
each and every single float of filling (fastened by one or more ends of warp to the fabric) and 
produces a velvet surface. After running the fabric in this condition over the shears, for the pur- 
pose of producing an even height of pile, it is put upon the chinchilla machine to have its velvet 
face rubbed, forming chinchilla rows in the direction of either the warp or the filling, or in a 
diagonal direction ; or forming round knobs known as " Rating." The size of the chinchilla 
effects or the ratine effect is regulated by the height of the pile, and this by the shearing process. 
(Two- or three-ply spun face-filling is of more advantage to use than the equivalent size in 
one-thread compound.) 



153 



Fancy or Figured Chinchillas. 



These fabrics are produced by arranging the floats of the pile-filling so as to form figures 
(designs) in the way that the above mentioned pile-filling is fastened to the ground cloth, after 
having its floats cut. 

To illustrate this subject designs Figs. 758, 759, 760, 761, 762, 763, 764, and 765 are given. 



□ r.r.z: r.c:r: ■".'.:-. ::cn 
■iiiii 



aaaa 
■aa 
aaaa 1 



1 □ a n a 



■•■' """ ■■■■■ 

aaa :r.:n □□□ ;;. 

alalia"''" ,,""« 

■■■■■■" 
:::::; :::::: ;::::: : 
aaa aaaai 
Haa :::x: :::::: :x: 



■ aa" 



Fig. 75 8. 



Fig. 760. 



Fig. 761. 



Fig. 758 illustrates the face-weave for Fig. 759, the complete weave. 
Repeat : 8-harness and 8-picks. 
a are pile-picks, a are ground-picks. 

Fig. 760 illustrates the face-weave for Fig. 761, the complete weave. 
Repeat: 12-harness and 8 picks. 
■ are pile-picks, a are ground-picks. 
Fig. 762. Repeat : 8 warp-threads and 8 picks. 
F'g- 763- Repeat: 12 warp-threads and 36 picks. 
Fig. 764. Repeat : 12 warp-threads and 8 picks. 

Figs. 762, 763 and 764 are face-weaves for fancy chinchillas, to be arranged either similar to 
those given in Figs. 758 to 761 or for regular double cloth, using face and back-warp with pile- 



aaaa 
aaaa 

aa 

aa 



■dm aaaa 

■ aa aaaa :. 

aaaa aaaa 
aaaa aaaa i 

■ aaaa aa 
aaaa aaaa 

■aa bbbb 

■ . aaaa . aa 
aaaa bbbb 

■aa aaaa 
' bbbb bbbb 
bbbb bbbb 

■ i aaaa aa 
bbbb aaaa 



aaaaaa 
• aa 
aaaaaa 



■■■■■■ 

hi 
aaaa 

■ 
bbbbbb 

Fig. 763. 



bbbbbb bbbbbb 

IBBBBB 

BBBBBB BBBBBB 



aa 


■ aaaaaa 
aa aaaaaa 
aaaaaa aa 


aaaaaa 
aa 
aaaa 


aa 


BBBBBB BBBB 


bb n i 


■■ 


BBBBBB BB 


aa 

BBBB 


BB 
■ B 
BB 
BB 
BB 


aaaaaa 

aa . aaaaaa 

BBBBBfl aa 
. : BMBBBB 

aaaaaa bbbb 
aa aaaaaa 

BBBBBB , , BB 

■bbb aaaaaa 


■■■III 

aa 
ran 1 

aaaa 
aa 

BB 
BBBB 



Fig. 764. 



iiiii ■■ 

BB BB ■■■ 

BB.BBBBB 
. BB 1IH1 

■■■■■ aa : 

aa BB BBB 

bb aaaaa 
aa aaaaa 

Fig. 765. 



filling interior and backing. Fig. 765 illustrates a specimen of the chinchilla weave, specially 
adapted for producing chinchilla rows lengthways in the fabric. 



CHENILLE. 

Chenille is a fringed thread and is used either for filling in such fabrics as curtains and rugs, 
or it is used in its first woven state for ornaments such as trimmings, fringes, etc., for ladies' wear 
as well as for decorating purposes. (In fringe-weaving the chenille part of the fabric is some- 
times produced at the same time that the heading of the fabric is woven. We will later on 
describe this separate method.) 



154 

When chenille is used as filling, its fibres extend forward in every direction through the 
perforations of the fabric, producing a fur-like surface on the goods it is applied to. As a general 
rule for these fabrics, the chenille forms the main part of the fabric. The remaining part, if warp, 
or warp and filling, is only used for holding the fabric in its position. There are two methods 
commonly used in weaving this chenille. 

1st. Using 4 warp-threads on common plain weave. 2d. Using 2 or 3 warp-threads on the 
gauze weave. A short sketch of each method is given. 

Chenille Produced by Using 4. Warp-threads on Plain Weave. 

Procure a set of harness using a plain weave (2, 4, 6 or more shafts). In this draw the warp 
the same as in regular cloth. By drawing the warp in the reed always put the four warp 
ends, which have to work together, in one dent, leaving as many dents empty as required, accord- 
ing to the size of the chenille. The filling (which is introduced in the ordinary manner) is bound 
in plain at the places where the four warp-threads in one dent are situated (see I, II, III in Fig. 
766) and floated at the distances where no warp-threads are. After weaving the fabric in this 
manner it is cut in the direction of the arrows 5" and S 1 . 

Two methods are employed for cutting chenille. It is done either on the loom during the 
weaving operation, or after the fabric leaves the loom. 




Every set of 4 warp-threads forms one strip of chenille, hence as many sets as are used 
over the width of the fabric, so many strips are obtained. In figure fabrics where each strip of 
chenille is required to be of a different arrangement of colors for forming the design, the number 
of sets used in weaving the chenille indicates the number of fabrics to be set afterwards in the 
following process. For example : in weaving chenille for dados for turcoman curtains, suppose 
140 sets of strips are woven at the weaving of the chenille, and every pick of the dado is to have 
a different arrangement of colors, the result will give us 70 pairs of curtains to be set. After 
cutting the chenille into strips they are twisted, every 4 threads of warp being thus formed into 
one, with the filling-threads extending from it in eveiy direction, and giving it the appearance of 
a fringed thread. This twisting tends to hold the interwoven filling firmly in the warp-threads, 
and hence, adds strength to the fabric. 

Chenille Produced by Using j Warp-threads. 

The process of manufacture here is the same as in chenille made out of 4 warp-threads on 
the common plain weave. The only difference consists in employing but 3 warp-threads for the 
centre of every part of the chenille strips, and interweaving the filling in gauze instead of plain. 
This process, which certainly will be found more expensive than the first, will in return, give a 
great deal more strength to the fabric by holding the filling yet more firmly in the warp, and 






155 



making the cutting easier and safer. The process of twisting the chenille strips after cutting, as 
observed in the former fabric, will be the same in this case. (Chenille produced with 2 warp- 
threads is explained later in a special chapter on Gauze Weaving.) 

Arrangement of Design for Weaving Figured Chenille. 

After the design is finished on the squared paper, it is cut into strips in the direction of the 
filling, as every line has to be woven separately for the chenille strips. To explain this process, 
Figs. 767 and 768 are designed. 

Fig. 767 illustrates the complete design (border in four colors). 

Fig. 768 represents one-half repeat of the design, cut into strips in the direction of the filling. 

l':.,m i- ■ ■ : :: ;r; ■ e ::■ n ■:;■ :: ■::■ ■ ■:.- 

iTMDCBaQBBOcunuBaaxDCBSBaBEnaoGcanBsu 
lGanGOGaHDDQQDGuaann ■■ ■ ■■ ■■■■ ■■■ j 

I5QCaCCCBCCGaGCaCDCCBL'B-;:«B«G«B«— ■ ■ 
»DODDaOCDCCOaGOBBBBBBBGODCaBGDCOJBEB»BB 
idDnCDBBBGCaCCGBBnSBSBaCnBDQCBaaOBBBaSHBa 
lgCaCnBBBBBOCODOaBBBBBBBBBBDDaBBB BU UUi a BBDO 
UCGDCBBBBBQDCnOCCBBBBBBMBOBDBflBBBBBBBCaL] 
loJCaBBBBBIiBCCaiGBtSBHBECBBBmiBBB 1 C L: ■ 
SCnDDBDDDBCDnaCCBBHBB«BBDDDnDr.DBBBEBESBDD 
SBCCanCaCOCOQBCCCBRQBBEBCCBBBCCBBBBe@BCaO 
ODDOBBMBiinQaCGOOBBCBBBnCOBGCCBOBaBBnai] 
eODDDDBBBCDCDnCaCnDDDDBBDOnBCinDBBGDDnCann 

tcojuum 1 i 1 uDCGaccDaaDGOoaDooajDGOcaDDaa 
< EDaDDDnDDDDDanaDDncn neon mm 



















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■ ■■■■■■■■■■■■■■■■■IB 

IDaDaDDDDDDDnDDDCDDGDnnaCDDCDDDODuDGaDDCa 



Fig. 767. 



Fig. 768. 



In examining Fig. 767 it is found that 35 picks are required for one repeat. The design 
itself represents a "point figure," picks 1 to 18 and back again. Indicating the colors by type 
as follows: a for straw color; a for red; o for maroon; ■ for blue-green, we have : 
Strip 1. — All straw color. 
" 2. — One pick straw, one pick blue-green, 20 times for one repeat. 
" 3. — All blue-green. 



4 and 5. — All straw color. 
6. — 5 picks, straw. 



3 " 


blue-green. 


3 " 


straw. 


2 " 


blue-green. 


3 ' 


straw. 


1 " 


blue-green. 


3 ' 


straw. 


2 ' 


blue-green. 


8 ' 


straw. 



Strip 7. — 4 picks, straw. 



I ' 


blue-green 


3 ' 


red. 


1 


blue-green 


8 ' 


straw. 


2 ' 


blue-green 


1 


straw. 



7 cont'd. — 1 pick, blue-green. 



Strip 8.- 



I 


" 


red. 


I 


" 


blue-green. 


3 
1 


« 


straw, 
blue-green. 


3 


" 


straw. 


1 
1 


« 


blue-green, 
red. 


1 


" 


blue-green. 


r 


" 


straw. 


4 


« 


blue-green, 
straw. 


1 
1 


pick, 


blue-green, 
straw. 


1 


" 


blue-green. 


3 


" 


straw. 



156 



i cont'd- 


— 1 


aick, 


blue-green. 




2 


" 


red. 




2 


" 


blue-green. 




1 


" 


red. 




1 


" 


blue-green. 




2 


" 


straw. 




3 


" 


blue-green. 




2 


" 


straw. 




1 


" 


blue-green. 




1 


" 


red. 




2 


<< 


blue-green. 




2 


" 


red. 




1 


" 


blue-green. 




3 


" 


straw. 


Strip 9.- 


—4 picks 


straw. 




1 


" 


blue-green. 




3 


" 


straw. 




1 


" 


blue-green. 




6 


" 


straw. 




1 


" 


blue-green. 




1 


" 


red. 




1 


" 


maroon. 




4 


" 


red. 




1 


" 


blue-green. 




7 


" 


straw. 




1 


" 


blue-green. 




4 
1 


.< 


red. 
maroon. 




1 

1 


« 


red. 

blue-green. 




2 


" 


straw. 


Strip 10. 


—3 
1 


picks 


, straw, 
blue-green. 




1 


" 


red. 




1 


" 


blue-green. 




1 


" 


red. 




1 


" 


blue-green. 




1 


" 


red. 




1 


" 


blue-green. 




5 


" 


straw.- 




1 


" 


blue-green. 




2 


" 


red. 




1 


" 


maroon. 




1 


" 


red. 




1 

1 


« 


maroon, 
red. 




3 


" 


blue-green 



10 cont'd. — 3 picks, straw. 

3 " blue-green. 
1 " red. 

1 " maroon. 

1 " red. 

1 " maroon. 

2 " red. 

1 " blue-green. 

2 " straw. 

Strip 11. — 4 picks, straw. 

1 " blue-green. 

1 " red. 

1 " blue-green. 

I " red. 

1 " blue-green. 

7 " straw. 

1 " blue-green. 

2 " red. 

1 " blue-green. 

4 " red. 

I " blue-green. 

1 " straw. 

1 " blue-green. 

I " straw. 

1 '' blue-green. 

4 " red. 

1 " blue-green. 

2 " red. 

1 " blue-green. 

3 " straw. 



Strip 12. 


—4 pic 


cs, straw. 




1 " 


blue-green. 




I " 
I " 


maroon, 
red. 




I " 


maroon. 




I " 


blue-green. 




6 ' 


straw. 




2 " 


blue-green. 




1 
1 ' 


red. 
maroon. 




2 ' 


red. 




4 ' 


blue-green 




3 


straw. 




4 ' 


blue- green 




2 ' 
1 


red. 
maroon. 




1 ' 


red. 



157 



12 cont'd. — 2 picks, blue-green. 
2 " straw. 

Strip 13. — 5 picks, straw. 



16 cont'd. — 1 pick, blue-green. 






3 ' 




blue-green. 


6 " 


straw. 


1 " 


blue-green. 




red. 


i 


blue-green 


3 


straw. 




blue-green. 


•3 " 


straw. 




blue-green. 


3 " 


straw. 


1 " 


blue-green. 


5 


red. 


1 


blue-green. 


1 " 


straw. 


Strip 14. — 14 picks 


•> straw. 


e ' 




blue-green. 


I 




red. 


I 




blue-green. 


c 




straw. 


I 




blue-green. 


5 




straw. 


I ' 




blue-green 


I 




red. 


c 




blue-green 


I " 


straw. 


Strip 15. — 6 picks, 


straw. 






blue-green 


1 1 




straw. 






blue-green 






red. 






blue-green 






straw. 






blue-green 






maroon. 






blue-green. 






straw. 






blue-green 






red. 






blue-green. 






straw. 


Strip 16. — 5 pi 


:ks 


straw. 


1 " 


blue-green. 




' 


red. 



Strip 18. 



6 ' 


straw. 


3 


blue-green. 


1 


straw. 


4 ' 


' blue-green. 


1 


' straw. 


2 


' blue-green 


1 


' red. 


1 


' blue-green 


1 ' 


' red. 


2 ' 


' blue-green 


1 


' straw. 


4 ' 


' blue-green. 


1 


' straw. 


3 ' 


blue-green 


1 


straw. 


■2 picks, blue-green 


2 ' 


' straw. 




blue-green. 




' red. 




maroon. 




' red. 




' blue-green. 




' straw. 


4 


' blue-green. 




' red. 




' blue-green 


6 


straw. 




' blue-green 




red. 




blue-green 




' red. 




' blue-green 




red. 




blue-green. 


6 


' straw. 




' blue-green 




' red. 


2 


' blue-green. 


-1 pic 


:k, red. 




' blue-green. 




' straw. 




' blue-green. 




' red. 




' maroon. 




red. 




blue-green 



158 



18 cont'd.- 


— i 
I 

3 


pick, 


straw. 

blue-green. 

red. 




i 


" 


maroon. 




i 

2 


» 


blue-green, 
straw. 




I 
2 


« 


blue-green, 
straw. 




I 


" 


blue-green. 




I 

I 

I 


I 


maroon. 

blue-green. 

red. 



18 cont'd. — i 


P 


ck, 


maroon. 


i 
I 






red 
blue-green. 


I 






maroon. 


i 






blue-green. 


2 






straw. 


I 






blue-green. 


2 






straw. 


I 






blue-green. 


I 






maroon. 


2 




red. 


k 16, and so 


Dn 


until pick 35 is reached 




■NiiMflNffi 



^:&$£?:&$^§^m 



Pick 19 will equal pick 17. Pick 20 will equ 
which equals pick 1. 

Suppose we have 20 picks to I inch in the chenille, the 
repeat of the figure (40 picks) will be 2 inches, or 22 repeats 
in a curtain 44 inches wide. 

According to the width of the loom on which we have 
to produce the chenille filling and the size of the chenille to 
be made we find the number of duplicate strips produced the 
same time. 

Suppose we have a loom weaving one yard wide in reed, 
and want a chenille of J^ inch diameter (on loom). We 
ascertain the number of strips of each kind of color-arrange- 
ment produced at once, as follows : 

36X4=144 strips chenille of the same color-arrange- 
ment, produced at the same time. This equals 72 duplicate 
strips for 72 pairs of curtains. 

If this border should have to be used twice in each cur- 
tain (4 strips in the complete pair) we must calculate for 36 
pairs of curtains, etc. 

Another arrangement for weaving chenille (lower 
grade) is illustrated and explained in the chapter on cross 
weaving. 

Two methods of separating or cutting the web into 
the required strips, are in use. That which separates it 
automatically in the loom during the process of weaving, and that, the most generally used, 
which separates the web after it leaves the loom by means of the 




f 

Fig. 769. — Design for C 
(Border. 



Chenille Cutting Machine. 

For illustration of this subject the machine, patented by William Mcllwain, has been selected. 

Fig. 770 is a top or plan view of it. Fig. 771 is a vertical section in line x x, Fig. 770. 
(Similar letters of reference indicate corresponding parts in both figures.) 

A represents the frame of the machine, on which are mounted rollers BCD, which feed the 
chenille fabric into the machine, the rollers B D receiving motion in the same direction. 

G represents a transversely-extending comb, which is secured to the frame of the machine at 
the end thereof opposite to the roller B, and H represents a rotary cutter, whose shaft, mounted 



159 

on the frame A, receives motion from the pulley a. The cutter H is formed of a series of circular 
blades fitted between teeth of the comb G, and washers alternating with the blades, the washers 
serving to adjust the distance between the blades, and in connection with a nut and collar to clamp 
the blades in position. The comb is vertically adjustable and has above it a pressure bar, G", 
properly secured to the frame A, or a projection thereof, the object being to force the fabric 
against the comb and hold it firmly and flat during the cutting operation. (Pressure-bar G" is 




Fig. 770. 

removed in Fig. 770.) Mounted on the frame, or the attachments thereof, on opposite sides of 
the cutter, are tension-regulating rollers J K. Secured to the frame, and at the rear end, are trans- 
versely extending beams d e, around which the fabric to be cut is passed from the roller D to the 
rollers J. 

L represents a roller at the top of the frame A, and M represents a roller on which the cut 
chenille is wound. Roller M rests on the rollers B D, and has its frictional contact with the 




Fig. 771. 

roller adjusted by means of weighted levers P, which are pivoted to the frame A, and carry 
rollers Q, which are in contact with the peripheries of the heads of roller M. 

Supported on the base of the machine, or on the floor of the apartment, is a fan or blower, R, 
the pipe 5 whereof leads upwardly and transversely, and opens just in advance of the cutter H, so 
as to direct a current of air over the fabric and remove fine particles of the same and dust there- 
from. The chenille fabric to be cut into strips is passed under the roller B over the roller C, 






160 

under the roller D, under the beam d, under and around the beam e, under and over the severai 
rollers J, and then between the comb G and bearing-plate G", where the cutter H acts on the 
labric, thus severing it into chenille strips, the chenille strips then passing over and under the 
rollers iTand over the roller L to the roller M, on which they are wound. The roller M is then 
removed, and the several lengths of chenille thereon are re-wound or re-rolled on other rollers or 
spools, and subjected to further operations. 

CHENILLE AS PRODUCED IN THE MANUFACTURE OF FRINGES. 

In fringes and similar upholstery fabrics the chenille is produced through the warp, the 
filling taking the place of the inside binders. For a practical explanation of this point we refer 




Fig. 772. 

to Fig. 772. In this illustration we represent under A the heading, under B the worsted, wool 
cotton or silk warp for producing the chenille. C, C, C", C", etc., represent the fine cotton 
binders interweaving in the heading and chenille part of the fabric (forming the centre of the 
chenille after cutting). The arrows at the right hand indicate the places where the chenille has 
to be cut towards the heading as indicated by the dotted line between C and C . 



33 33 

39 S 

33 39 

39 s: 

33 39 

'39 s: 

39 33 

39 39 

39 39 



■ ■ ■ ■ 39 39 

39 39 



:: :j :: :: :: :; :: c: :; :; 
c: :: :: :: :; :; :: c: :: ns 



Fig. 773 represents the weave for a chenille fringe. A is the heading of the fabric and B the 
chenille part. The width of heading in fabric to be y^ inch ; the width of chenille fringe to be 
from I to 3 inches. Three ends of 2-ply loose twisted zephyrs to be used for one end in the 



161 



chenille fringe. Two ends of 2-ply 50s cotton used in ground of heading for one end. 
ends of 2-ply zephyr used for one end in figure of heading. 



Two 



Specimen Dressing of Heading for Present Example : 



10 ends 
I 



of 2-ply 50s It. blue cotton for 
Gold tinsel " 

2-ply 50s It. blue cotton " 
Gold tinsel 

2-ply 50s It. blue cotton " 
2-ply It. blue zephyrs " 
2-ply 50s It. blue cotton " 
2-ply It. blue zephyrs " 
2-ply It. blue cotton 
Gold tinsel " 

2-ply It. blue cotton 
Gold tinsel 
2-ply It. blue cotton 



5 ends (heddles). 
end. 



• 3 times over 



60 ends. 



Dressing for Fringe. (Chenille part.) 



for 32 heddles. 



9 ends Zephyrs. Blue shade No. 1 for 3 heddles. 

9 " " " " 2 " 3 

12 " " " " 3 " 4 

12 " " " 4 " 4 

9 " " " 1 " 3 

9 " " " 2 " 3 

12 " " " " 3 " 4 

12 " " " " 4 " 4 

12 " " Yellow " 4 



96 ends Zephyrs 



for 32 heddles. 



Then type in the chenille part of the weave indicates the weave for the cotton cord required 
% to be interwoven for the filling. Hence every filling line in the design containing this type will 
require 2 separate picks : 1 pick for the heading ; a, ■, and ■ up, a and o down ; 1 pick for the 
chenille ; a up, ■, ■, a and u down. 

The process of weaving is clearly indicated in the drawing Fig. 774. 

In weave, Fig. 773, and fabric sketch, Fig. 774, the letters used for indicating the different 
systems of threads correspond. 

c stands for 2 ends of 2-ply 50s light blue cotton (heading). 

b stands for I end of gold tinsel (heading). 

a stands for 2 ends of 2-ply light blue zephyrs (heading) as used in the different arrangement 
of colors mentioned before. The arrows in both (weave and sketch) are also on corresponding 
places. 

Fig. 775 represents the finished fabric sample. For the filling for heading, 4 ends of 2-ply 
light blue worsted are used. For filling for the centre of chenille strip and interweaving in the 
heading, use 2-ply 60s black cotton. 



162 



Weaves Fig. 776 and ~]JJ are two additional specimen designs for chenille fringe. 
After the chenille fringe is woven and the heavy cord extracted, the fringe is submitted to a 
steaming, which process will put the twist into it as required, for a double purpose. A for 
general appearance. B for strength, so as to resist a pulling out of threads in the chenille 

part. 

Lately this method of producing 
chenille fringe (in certain fancy effects) 
has been patented for weaving a 
double set of fabrics at the same time, 
thus separately weaving two fillings 
with two sets of heading warps, at 
intervals, alternately interweaving the 
above mentioned fillings with a set 
of body-warps, and interlacing a tem- 
porary filling with these body-warps 
in alternation with said heading-fill- 
ings, and then cutting the body of 
the fabric so produced between the 
insertions of heading-fillings and re- 
moving the temporary filling. 

In diagram Fig. 778 is illustrated 
such a fabric, having the temporary 
filling both interlaced and liberated. 
The body of the fabric is cut and two 
distinct fringes are produced, each 
fringe having a series of spaces, and 
each space of one fringe being slightly 
wider than the width of two pendants ; 
the spaces and pendants alternating in 
the fringe. 

A represents two fringes consist- 
ing of the heads a a and pendants bb. 
The spaces c c between each two pairs 
being slightly wider than the width of 
a pair. The fabric of which the fringes 
are formed consists of a body, B, and 
two heads, a a. 

In weaving the fringe fabric a 
cord d is thrown into the body at inter- 
vals as temporary weft, after the pre- 
viously explained method of forming 
"single set" chenille-fringe fabrics. 
Two shuttles are employed for the heads 
a a, one for each head. The threads e 
from the two shuttles for the heads are 
separately woven with the warps a' a', employed for these heads, thus producing two heads, 
and threads e are alternately and at intervals shot past the heads into and across the body, 
and woven with the warps d' thereof, so as to bind the portions of the body, which afterward 
constitute the axes or cores of the pendants of the fringe, it being noticed that the two 







163 



woven heads are alternately connected with the body by such threads e as are shot into the body 
at intervals. The cord d is woven only with the warps d of the body, and is introduced therein 
alternately with the filling e, as shown. When the fabric is finished, the body is cut through 
between the cords d. midway between the fillings e, as usual in making chenille fringe, thus 







Fig. 775. 

severing the pendants, and the temporary filling is removed. It will be seen that by so 
doing said pendants are separated into two series, one series being connected with one head 
and the other series with the other head, and the pendants of one series having left among 
them spaces corresponding with the pendants of the other series. These spaces may be equal 





A 






















[',; 


:;:;.: ■ ■ 


■ ■ 








Mi 












[.J ; 












1 1, 1 


l-B & & 














































1 1 1 








































































l-T 











a 



~ -■•: :■; . 



ntsO* B B 



■ ■■■■'■■■■a 1 
■■■■■■ ■_- - 



Fig. 776. 



to one, two, or more pendants, according as the set of threads e are thrown across the body 
from the two heads. 

Another method of weaving a double set of chenille fringes at once, and with their pendants 
attached, is illustrated in Figs. 779 and 780. This method of operation (patented by S. Steinecke) 
consists in interweaving two separate sets of heading-warps and one series ot ordinary body- 



164 

warps with a single filling or series of picks, and also a series of temporary picks of another 
heavier size filling, which is removed in like manner to that of the temporary filling inserted in 
fabrics previously illustrated. 

Fig. 779 represents a plan of the construction of the fabric, showing the pendants in pairs 
on the opposite headings, some of the fabric being cut so as to form the pendants (as they appear 
when finished) in pairs on the lower part of the diagram. 



A 

S iB ■■ l l 

:: s 

H S " 

:: :: 



■ ■ a ''' 

- ■ ■ 



Fig. 777. 

Diagram Fig. 780 shows the method of interlacing binder filling which forms the cores of 
the pendants. 

A A represent two sets of heading-warps at the sides of the usual body-warps, B for form- 
ing the pile-threads of the chenille. The warps A and B are interwoven with the filling C, which 
may consist of a single thread or series of threads, all in the same shuttle. 





Fig. 77S. 



Fig. 779. 



The filling is interlaced in the following manner: The filling is interwoven with the left-hand 
heading-warps A, then, with the body- warps B, up to the inner edge of the right-hand heading- 
warp A but not with the said right-hand heading-warp A; then the intermediate or filling weft, 
D, which is to be removed later on, is interwoven with the body-warps B, but not with the headings. 
After three, four, or more courses of the intermediate weft, D, have been formed, the weft-thread C 



165 



is again interwoven with the body-warps B and one of the heading-warps ; but in this case the weft 
C is interwoven with the right-hand heading- warp A, and with the body-warps up to the inner edge 
of the left-hand heading-warp A, but not with said left-hand heading-warp A, and so on alternately, 
so that, as shown in Fig. 779, the weft-thread C is interwoven at regular intervals with the body- 
warps, and is alternately interwoven with the left and right-hand heading-warps A. The warps B 
are then cut parallel with the wefts C, midway between them, and the temporary wefts D are re- 
moved, and thereby two chenille fringes are formed, one on each heading A, the pendants being 
connected alternately with the opposite headings, as shown. 

As shown in Fig. 779, the filling can be interwoven in such a manner that in pairs they are 
alternately connected with the opposite headings, or the first, second and third picks may be 
interwoven with the right-hand heading, and the next, first, second and third picks to the opposite 
heading, and so on. In all cases the permanent filling will ordinarily be interwoven with the 
heading-warps, as shown in Fig. 780, in which case the filling must be severed at the points a at 
both headings. The filling interwoven with the headings, and extending across the warps, form 
the cores of the chenille pendants. 





Fig. 7S0. 



Fig. 781. 



In Fig. 781, the previously explained method of weaving a double set of chenille fringes 
with their pendants attached, is shown as applied to the production of pendants which are shaped 
so as to have a varying-diameter. 

A A are the heading-warps ; B, the body-warps between the two sets of heading-warps. 

C C filling interwoven with the heading and body warps and forming cores or centres of the 
pendants E. The core C of each pendant of the weft is interwoven with one heading warp only, 
and,- as shown in the drawing, the cores of the chenille pendants are interwoven alternately with 
the opposite headings. 

If desired, one, two, or three cores may be interwoven with one heading, and the next one, 
two, or three cores with the opposite heading, and the cores may be grouped on the opposite 
headings in any suitable manner. 

Temporal)' filling M is interwoven with the body-warps between the picks C to form the 
chenille fabric. Then the body-warps are cut with suitable dies, knives or scissors, between the 
permanent picks to produce shaped pendants — that is, pendants in which the diameters of the 
pile-threads vary at different points through their entire length. 



166 

PILE FABRICS IN WHICH THE PILE IS PRODUCED BY A SEPARATE 
WARP IN ADDITION TO THE GROUND WARP. 

As indicated, two kinds of warps are necessary to the production of these fabrics. One 
warp, the "ground-warp," with the filling, produces the ground or body of the fabric, while a 
second warp, known as the " pile-warp," produces the face. 

In any pile fabric, from the common velvet to the most complicated Astrakan cloth, Brussels, 
Wilton or tapestry carpet, the method of entwining the ground structure is of a very simple 
character (either common plain, basket, or a twill of short repeat), while the interlacing of the 
pile-warp into the ground cloth is of a more complicated nature. In all warp-pile fabrics 
two methods of producing the pile are essential. Either the pile is left uncut, which is techni- 
cally known as the "Terry" pile, or the pile is cut, known technically as the "velvet" pile. In 
addition to these two ground principles for producing the warp-pile, an endless variety of effects 
and combinations are produced by using various color combinations for each kind, again vaiying 
the height of the pile, combining cut and uncut (velvet and Terry effect) pile for forming addi- 
tional designs in one fabric, etc., etc. 

Ground-warp and pile-warp are independent in their operation on the loom, therefore each 
must be wound on a separate beam, as a different tension and "let-off" is required for each. 

In fabrics of a fancy character one beam for the pile-warp will not be sufficient, and the 
number must be increased for some fabrics to a great extent, in fact in such fabrics as Brussels or 
Wilton carpets it must be increased to one miniature beam for each individual pile warp-thread. 

Structure of Warp Pile Fabrics. 

Warp-pile fabrics are constructed by raising the pile-warps from the ground cloth over a 
wire and then interlacing the same into the cloth again. The entire pile-warp may be raised over 
the wire on a pick, or part of it only. In every case we must be careful to arrange the binding 
so as to secure the pile proper to the ground cloth. In case we want to raise only a part of the 
pile-warp at one pick we must, in addition to the binding, arrange the distribution according to 
the effect required. 

Terry and Velvet Pile. 

In all warp-pile fabrics the same kind of warp yarn may be employed to produce the pile 
for either the Terry or the velvet effect; but it will be necessary to use different wires if the fabric 
is to be woven on a power loom. The Terry pile is ^_^ 

produced by using a plain wire, as illustrated in ^ ^- -^--^ ^.----t=r> IG ' 7 3 - 

Fig. 782, which, when drawn out, leaves the loop 

intact. f _ ^ ______ ■____._.. J ._,_. --^. s , Fi g- 782. 

If "velvet pile" is desired we must use wires of a 
style similar to that illustrated in Fig. 783, being a wire which has a knife attached to its extreme 
end. This cuts its way through the pile as the wire is pulled out. 

In weaving pile fabrics on a hand loom, frequently one kind of wire is used for producing 
both Terry and velvet effects of an equal size. This wire is provided with a groove for inserting 
the knife of the "trevette" when a velvet face is required. Fig. 784 illustrates the section cut of 
such a wire (see S). The knife of the trevette is shown at A. B represents a warp-thread as cut 
and secured to the body or ground of the cloth by means of picks 1 and 2, which in the present 
example represent the two connecting picks to the pick for inserting the wire. If no cutting is 
required (Terry) the wire is pulled out. Thus it will be seen that the production of velvet or 
Terry effects in the fabric is effected by cutting, or not cutting, certain pile picks, the change to 
either effect being entirely at the will of the weaver. The trevette is a frame having a knife fixed 



167 

in it for cutting the pile, and is illustrated in Fig. 785 by a front view and in Fig. 786 by a side 
view. Letters used for indicating the different parts in both designs are used correspondingly. 






Fig. 784. Fig. 7S5. Fig. 7S6. 

The weaver inserts the trevette on the wire to be liberated at the left side of the fabric and 
runs it quickly over the entire width of the wire. 

Explanations and Illustrations of the Method of Operation in Producing Warp 

Pile Fabrics. 

As previously mentioned, in warp pile fabrics we require two kinds of warp, one for the 
ground cloth and one for the pile. Each kind of warp is drawn in on its own set of harness, 
arranging in most every instance the pile warp nearest to the reed. 



n 1: 

□gDuHo— A 

■ ■ 



Fig. 7S7. 



a 
)-i LXJ. I'F. ] 1st set ufliarness 

caaEDna , 

j_ : ^_ ; j for K rounrl-warp. 



f— QQQBCX] for pile-warp. 

Fig. 788. 



In Fig. 787 we illustrate a weave for a pile fabric. Repeat: 3 warp-threads, 4 picks. Ar- 
rangement of warp: 2 threads ground (2, 3, 5 and 6), 1 thread pile (1 and 4) = 3 threads in repeat. 
Filling: I ground pick heavy (A), 2 ground picks finer (B and C), 1 pick for inserting wire (D), 
= 4 picks in repeat. 

Fig. 788 represents the drawing-in draft arranged, 4-harness in first set for ground warp and 
2-harness in the second set for pile warp. Harness: a, b, c and d for ground; harness: e and f 
for pile. 





Fig. 789. 



Fig. 790. 



Fig. 789 illustrates the method of operation on the loom. Every letter or number used in 
this diagram corresponds with those used in Figs. 787 and 788. and thus will readily explain 
itself. 



168 

Fig. 790 represents a reproduction in perspective of the fabric as produced with weave Fig. 
787. Letters used in this drawing also correspond with those used in Figs. 787, 788 and 789. 

In drawing Fig. 789, representing the method of operation for forming pile fabrics, only one, 
wire is shown interwoven. The same will illustrate a principle most frequently observed, i. e., to! 
have the pile warp in the lower shed, both in the pick preceding the wire as well as the one 
following. This method has a strong tendency to drive the wires into position as well as to keep 
them there. In some fabrics this method is changed with respect to the pick preceding the wire, 
but in whatever warp pile fabric to be constructed by means of wires, the pick following the 
insertion of the wire must have all pile warp-threads, raised as before over the wire, down. 

We will now give a short sketch of the method of operation on the hand loom when weaving 
warp pile fabrics, thus illustrating also a like principle for weaving the same fabrics on the power 
loom. After the weaver has interlaced the required number of ground picks between the threads 
of the combined warps, a shed is formed either by raising the entire pile warp-threads in the 
upper part of the shed and forming the lower part of the shed by means of the ground warp, or 
by raising only a part of the pile warp in this pick, forming the lower part of the shed by the 
entire ground warp and also the remaining part of the pile warp. This shed remains formed 
until the wire has been passed through, extending on each end several inches wider than the 
selvage threads. Towards this wire so inserted the reed is brought with considerable force, 
and pushes the wire close towards the previously interwoven ground picks. The shape of these 
wires is of such a form that, by arranging the latter so that the reed when pressing towards the 
interlaced part of the fabric comes in contact with the grooved edge, the wire is caused to stand 
on its lower edge. In this upright position it is maintained by pressing the reed towards the wire 
until a new shed (ground pick) is formed, in which the filling for the ground cloth is inserted by 
means of a common shuttle as is done in the ground pick preceding the insertion of the "wire." 

By this method of fastening the pile warp over its respective wire to the ground cloth, the 
latter is also securely fastened to it, and, if an uncut pile effect is desired, requires some effort to 
liberate it. After inserting the required number of ground picks the process of inserting the wires 
is repeated, several wires always being retained in the fabric to keep the pile-threads from pulling 
out of the texture, which would destroy the face. From 6 to 12 wires, according to the material 
and the method of interlacing the ground cloth, as also the closeness or "height" of texture, are 
required to remain in the fabric to prevent any possible trouble, as pointed out. The last wire 
liberated is always the next to be inserted. 

We will now proceed to explain and illustrate a few of the most prominent warp pile fabrics. 

Velvet and Plush Fabrics. 

These fabrics are constructed with two kinds of warps. The ground-warp consists either 
of silk or cotton, and interlaces with the filling on plain S3, rib gg, gj, basket g'jg, or a 3, 4, 5, 
6 harness twill ; whereas the pile-warp being of silk, forms the face, through interlacing with the 
ground-cloth after, or before and after, raising for the wire. 

The ground-warp is woven with a tight tension, while the pile-warp is arranged to " take 
up " easily. The name of the fabric indicates the " cut " character for the pile. As previously 
mentioned, two beams are necessary, the beam for carrying the ground-warp, and the beam for 
carrying the pile-warp. The pile-beam must be situated in a higher position (in the rear of the 
loom) than the beam carrying the ground-warp, so that the pile-threads will run in an oblique di- 
rection towards the harness. The proportion of pile and ground-warp as well as the height of 
texture, and threads per dent, vary for the different qualities. 

Arrangements most frequently used are : 

2 ends ground to alternate with 1 end pile, or, .2 ends ground to alternate with 2 ends pile. 



169 



) 



Fig. 791. 



Or, 2 ends ground, 1 end pile, 1 end ground, 1 end pile, = 5 ends in repeat. Or, 1 ground, 1 
pile, 1 ground, 2 pile, = 5 ends in repeat. Or, 1 ground, 2 pile, 2 ground, 2 pile, = 7 ends in 
repeat. Or, 2 ground, 1 pile, 2 ground, 2 pile = 7 ends in repeat, etc., etc. 

The ground-warp and pile-warp are each put on a separate set of harness, generally using 
4 successive harnesses for drawing in the ground-warp, and 2 harnesses for the pile-warp. 

For example : 

Fig- 79 1 represents a common vel- 
vet weave in which 2 ground warp- 
threads alternate with 1 end pile-warp. 
Filling : 3 picks, ground {A. B. C.) to 
alternate with 1 wire (D). 

Fig. 792 illustrates the drawing-in 
draft with two sets of harness. Harness 
a, b, c, d for the ground-warp (4), harness 
e and f ior the pile warp (2). 

Technically the velvet fabrics are 
* % classified as " two-picks velvet," " three- 
picks velvet," etc., which means that in 



■_ 



fl 










Fig. 7 














i 





























■- PCt a! L*»»v*£J 



(.. 6r. 






the two-picks velvet we use two ground-picks between each insertion of the wire, and in the 
three-picks velvet three successive ground picks, and so on. 

In Fig. 793 we illustrate one of the plainest of the velvet weaves and representing what is 
technically classified as " the common two-picks velvet " weave. 







Fig. 793. 

Fig. 794 represents the sectional cut of this weave. An examination of this weave will 
illustrate the following arrangement for each pick : 
Pick 1 raises ground warp-thread I and the pile. 
" 2 " only the pile (wire). 
" 3 " " ground warp-thread 2. 

Repeat: 3 warp-threads and 3 picks. 

Warp: 2 ground-threads to alternate with one pile-thread (this pile can also be a two-fold or 
a three-fold thread). 

Filling: 2 ground-picks to alternate with one pick for inserting wire. 



«l :: :: 

■ ■ 
■ ::■ :■: 
r- :: 

■ ■ 

>ki,;i .□; .1 

Fig. 795. 




Fig. 796. 



). 



In Fig. 795 we illustrate a velvet weave frequently used, which has for the 
interlacing of the ground cloth the common rib-weave (2 harness and 4 picks 

In this weave we find the ground-picks preceding the pick for inserting the wire, as 
well as the ground-pick following the latter, call for the raising of the same ground warp-threads 
(two picks in a shed in the common rib-weave). 



170 

Fig. 796 illustrates the section of a fabric interlaced on weave Fig. 795. An examination of 
each pick will show the following results : 

Pick 1 raises ground warp-thread number 1 and the pile. 

" 2 " only the pile (for inserting the wire). 

" 3 " only ground warp-thread number 1. 

" 4 " ground warp-thread number 2 and the pile. 

" 5 " only the pile (for inserting the wire). _ 

" 6 " only the ground warp-thread number 2. V 

Repeat : 3 warp-threads and 6 picks. 

Warp : 2 ground-threads to alternate with 1 pile-thread (which can also be a two-fold or 
three-fold thread). 

Filling: 2 ground-picks to alternate with one pick for inserting wire. 




Fig. 797. Fig. 798. 

In Fig. 797 we illustrate the common " 3-picks velvet" weave, which has for its interlacing 
of the ground-cloth the common plain weave. 
Repeat: 3 warp-threads and 8 picks. 

Warp : 2 ground-threads to alternate with 1 pile-thread (which can also be a two-fold or 
three-fold thread). 

Filling : 3 ground-picks to alternate with one pick for inserting the wire. 
An examination of each successive pick will show the following results : 
Pick 1 raises ground warp-thread No. 1. (Ground-pick I.) 
pile-warp for inserting wire, 
ground warp-thread No. 2. (Ground-pick 2.) 
ground warp-thread No. 1 and pile- warp. (Ground-pick 3.) 
ground warp-thread No. 2. (Ground-pick 4.) 
pile-warp for inserting wire. 
ground warp-thread No. 1. (Ground-pick 5.) 
ground warp-thread No. 2 and pile-warp. (Ground-pick 6.) 
The section cut of this weave, which is represented in diagram Fig. 798, readily explains the 
advantages of this weave over the preceding ones, in that it more securely fastens the pile to the 
ground-cloth, every pile warp-thread being interlaced by - — - — j before it is raised for inserting the 
wire. Therefore fabrics produced with this weave will be more durable than fabrics interlaced as 
shown in sections 794 and 796; of course, by using the texture and size of yarn alike in all 
three examples, the fabric as produced with weave Fig. 797 will be less dense, in appearance of 
the face, than the others. 



r: r: 
a :: : 

B a D 
a :: 

■I :: :3 1 

SHODQDO 
■ 9 D 




Fig. 799. 






In weave Fig. 799 we represent another " 3-pick velvet" weave. Diagram Fig. 800 repre- 
sents the section of a fabric interlaced with weave Fig. 799. Letters for indicating the different 
threads in weave and section are used correspondingly. Two loops formed by the insertion of 
the wires are shown as cut, whereas one is represented as uncut. 



171 

An examination of the weave will show the following results : 
Repeat ; 3 warp-threads and 4 picks. 

Arrangement of Warp : 2 ends ground to alternate with 1 end pile. 

Filling : 3 picks ground to alternate with 1 pick forming the shed for inserting the wire. 
Picks marked 1, 3,4, are ground picks. Pick 2 (= D) is the pick for inserting the wire. If 
using a twill weave for interlacing the ground-cloth in a velvet fabric, we generally use not less 
than 3 successive ground picks to alternate with one pick for the wire. Less ground picks would 
besult in a texture not sufficiently strong to resist the pulling out of the pile by the wear the 
fabric is put to. 



:::: i.r. :■::■: 



Fig. Soi. 



■ ■ 
:: ;; 

:: :) 
■ ■ 

□ . I !□ ! 

'■ :: :: i 

■ ■ 
:: :: 

G :: 1 

1 ■ ■ 
':: :: ..: 

Fig. 802. 




Fig. 803. 



In Fig. 801 we illustrate the design for a pile fabric having the i 6-harness twill for weave 

of the ground structure. 

Repeat: 9 warp-threads and 8 picks. 

Arrangement of warp: 2 ground threads, 1 pile thread = 3 threads repeat. 

Filling : 3 ground picks to alternate with 1 pile pick. 

The method of interlacing the pile warp to the ground cloth is, in the present example, equal 
to the one illustrated in F"ig. 800. 

In place of one pile thread we can also use a two-fold or three-fold thread. 

In the manufacture of velvets and plushes, in which no dense pile is required on the face, as 
also in fabrics in which the material used is rough or too close set, and so liable to "choke" 
between the raising and lowering of the entire pile warp or vice versa the entire ground warp, we 
raise on every successive pile pick only each alternate pile warp-thread. The proportion of pile 
warp and ground warp in these fabrics is generally equal; one ground warp-thread to alternate 
with one thread of pile warp. 

In this manner design Fig. 802 is executed. 

Repeat: 4 warp-threads and 6 picks (4 ground picks, 2 picks for wires). 

Filling: 2 picks ground to alternate with 1 pick for inserting the wire. 

Diagram Fig. 803 represents a sectional view of the method of interlacing both pile warp- 
threads in the ground cloth in weave Fig. 802. One pile warp-thread, indicated as A, is shown 
shaded and situated behind pile-thread B, which is shown in clear outlines. S represents the 
section of a wire as used in hand looms, but which will also demonstrate the section of a wire 
as used in power looms. C represents the section of the knife in the trevette. The first loop is 
shown as cut, whereas the other three are represented as uncut. 



FIGURED VELVET. 

In these pile fabrics more figuring is possible than in any other kind of textile fabrics. One 
of the first requisites for figuring these fabrics is the use of different colors for forming designs. 
Then, again, we can figure successfully by using uncut pile with the regular cut pile, as also by 
using the common weaving to form figures with the pile weaving. We can also produce new 
additional designs by means of high and low pile. All these latter methods for forming addi- 
tional figures will result in the necessity of using a great many beams, and in some fancy figures 



172 



n n~~n ~" "" ~n~ n — a—:: - ~a — n: — B7rn -~n - ~n n 



■■■■■■ 



■■ ■■ ■■ 



■■ ■■ m 



. . a :: 

:: :: 

. iV'V.T'- 



produced by harness work as well as all 
figuring done by means of the Jacquard 
machine, ■ the number of beams will in- 
crease according to figured character of 
design until a separate small beam "pile- 
warp spool " for each individual pile warp- 
thread must be used. In using this arrange- 
ment of spools it is advisable to adjust ai 
hack (divider) in rear of the loom, so as 
to readily find the place of breaking of any 
thread in the loom during: weaving'. 



■ 



■an 



a ■■ ■■ ■■ as 

" ■■ ■■ aa ■■ 



■■■■■■ 



a ay so a 
ga hi aa ■■ 



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- : ■ ■■ ■ 



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■i ■ 
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■■ ■■ ■ 



Sffl- —"®<3 






■ .«■ "w- •'""-* 



■ bb ■ 

a .... .,>■■■ 



■■iBiaiiiB 

BHBBBBBB 



*t!ft; 


S..S|i|l|., 


- t -~ m 


smor ' . 


'BBB 


■ ■■mil 


BBB 

SB 


y BBB 



»:<a* iiaaaaa 



ebb ' " c bsj 
■■■■■■ 

BBBBBBBB " 
filllEHIIi: 
5BBB BBBB 



BB 



ma 



BB 



j.j 



_!!■■-' - 

laDQni 

3JDOOL' 

:"■' i: 'aa ' 



BBBBBBBB 



*saa 



l : i I 
IBB 
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I 



5 






□□QEBEBQnaaQnfBBQQocQDaaaQonaijaEBaj:] 

Fig. 804. Combination of figured 
pile-effects and figure-effects, produced upon 
two systems of warp and one system of 
filling. 

Arrangement of dressing: 



A, 1 end pile, 
1 end ground 

B, 1 end figure 
1 end ground 



12 times = 24 ends. 



} 

' \ 1 8 times = ^6 ends, 
d, J _ 

Repeat 60 ends. 



173 

Lowest number of harness possible for drawing in, is 24-harness. 

Filling: 1 wire (pile), 2 ground. 

Fig. 804A Motive for weave 804. 

a pile effect. ■ effect produced on ordinary weaving with extra warp. 

In both designs (the motive and the weave) three repeats of the pile part and two repeats 
of the part figured by extra warp (ordinary woven) are illustrated. 

Fig. 805. Repeat: 60 warp-threads, 24 picks. Can be reduced, if required, to 21 
or 23-harness. 

Fig. 805^. Motive for preceding weave. 



a 


E ffl ffl ffl 











: QQCJCCD 



1 



(1 represents///^, 2 ground, filling,') 
F.G. 805. 

A. Pile Effect. Dressing: 1 end pile, 1 end ground, 12 times, 

= 24 ends. 

B. Figure Effect. Produced upon 2 systems of warp, 1 system 
of filling. Dressing : 1 end figure, 1 end ground, 18 times, 

= 36 ends. 



■■■■■■■ ■■■■■ 
■■■■■■■ ■■■■■■■ 



■■■■■■a ■■■■■■■ 



Fig. S05A 



In both designs (the motive and the weave) only one repeat is shown, a for pile-warp. 
■ for figure-warp, s for ground-warp in pile part of weave, o for ground-warp in ordinary 
weaving part of the design. 

ASTRAKHANS. 

These fabrics are also formed by adding an extra pile-warp to a single cloth, otherwise 
interlaced in plain, basket, rib, or common twill weaves, and are the nearest related (some weaves 
being exactly the same) to the velvet weaves given in the preceding chapter. We may either cut 
this pile (plush) or leave the pile uncut (terry); or we may use both methods in the same fabric, 
producing in this way some of the most beautiful novelties for ladies' cloaking — trimmings, and 
similar fashionable articles. 

Texture of Astrakhan Fabrics. 

The texture of these fabrics requires 2 kinds of warp : a. ground-warp, b. pile-warp, and 
one kind of filling (ground). The ground-warp will, by interlacing with the filling, form the 






174 

ground or body of the structure, while the pile-warp through being interlaced to this ground 
structure and raised at certain intervals over wires (as required by the design), forms the face 
of the fabric. 

Ornamentation of Astrakhan Fabrics. 

Fancy effects upon otherwise plain interlaced Astrakhan fabrics can be produced by various 
combinations. Among these are found : The use of different colors in the pile-warp ; varying 



■c-c 

r * * 



Fig. 806. 



i' 

— ii 






Fig. 807. Fig. 808, 






SecUormt cat ^ ^U wu.rp 



the length of the pile ; and combining the terry and velvet effects, forming either terry figures 
upon velvet ground or velvet figures upon terry ground. 

Specimen Weaves for Astrakhans. 

Fig. 806 represents the weave for a plain Astrakhan fabric. Repeat : 3 threads of warp, 
4 picks ; the entire pile warp (indicated by 3 and 6 in the figure) is raised at once over the wire 



Fig. 809. 



e 


* 










| 


a 


• 












1 






• 


• 




• 


•L 






■ 




% 











•1 














• 












1 






e 








°L 










■ 























'■ 














1 
























* 




1 H 


1 





1 J • Stt„f &<*>.vejs", 



as shown in picks D, £>'. Texture of the warp is 2 ends ground or body-warp (cotton) to alter- 
nate with one end pile-warp for the drawing-in on 2 sets of harness. 

1st set for ground-warp (containing harness abed). 

2d set for pile-warp (containing harness e and f). 



175 

Diagram Fig. 807 represents the drawing-in of the warp on its corresponding two sets of 
harness (indicated at the right-hand side). 

Diagram Fig. 808 illustrates the section of a fabric interlaced on weave Fig. 806. Both 
ground warp-threads, as working at the right and left, are indicated by dotted lines. The pile- 
warp indicated in full black is shown in the terry and velvet effect (cut and uncut). 

Fig. 809 illustrates another design for Astrakhans. Warp: 2 ends ground-warp, 1 end pile- 
warp, 2 ends ground-warp, I end pile-warp (to alternate with the first end pile-warp in weaving). 




Fig. 811. 

Each pile warp-thread is drawn on a separate harness, as shown in Fig. 810. Diagram Fig. 811 
illustrates the method of operation in weaving a fabric with the weave just given. 2 picks 
ground B, C, E, F; I pick for inserting wire A, D. In pick A the harness / raises warp-thread 
3 ; in pick D the harness e raises warp-thread 6. The interlacing of the body-cloth is done with 
the common 4-harness basket-weave having the two warp-threads between the pile warp-threads 
working the same ; also the pick before and the pick after the inserting of the wire. 

Fig. 8 1 2 illustrates a weave for Astrakhans similar to the one above. The same arrangement 
for texture, 2 ends ground 1 pile, 2 picks ground I wire, and 4 harness common-rib (filling effect) 



A B A B 
Fig. S12. 




for the ground structure is used ; but the latter weave is arranged to have the two ground warp- 
threads, situated in the fabric near each other, work opposite ; thus the ground warp-threads 
working nearest on each side of a pile-thread raise and lower equally. In diagram Fig. 813, a 
section cut of the two pile-threads, as they interlace in a fabric, is shown. One pile-thread 
marked A is represented in outline (forming loops 5 and F), while the other pile-thread is 
shown in full black (forming loops S' and F'). The letters and numbers indicating the differ- 
ent warp-threads, picks, and openings of a shed for inserting wires, respectively correspond in 
weave Fig. 812 and diagram of section Fig. 813. 






176 



Weave Fig. 814 has the following arrangement of texture and principles of construction: 
Warp : 4 ends ground-warp, 1 end pile-warp, twice over in one repeat of the weave. 
Filling: 4 picks for ground, 1 pick for inserting the wire, twice over in one repeat of the 
weave. Ground-weave : plain. Raising of pile-warp : alternate ends on alternate wires. 
A and B are pile warp-threads, C and D the shed for inserting the wires. 



:: :: jr. :: n jz r n r. n :; 

■" ■" ■" ■" ■" :::::: 



-. ■- - 



B A' 
Fig. S14. 



AAAAABBBBB 
Fig. 815. 



Weave Fig. 815 has the following arrangement of texture and principles of construction : 

2 threads ground-warp, 1 thread pile-warp, 10 times over in repeat of weave. 

Filling-. 4 picks for ground, 1 pick for inserting wire ("cut"), 3 times over; 4 picks for 
ground, 1 pick for inserting wire (" uncut "), 3 times over ; hence 30 threads warp and 30 picks 
in one complete repeat. 

Weave for body of fabric : plain. 

bibb on right-hand side of weave for wires " cut." 

Ens on right-hand side of weave for wires " uncut." 



/ / / IKKKKLLLL 
P // — nfflnnnBBaDCfflGDnffl"QnfflDGnfflDDDEBDDnBnDCfflnDnffiDaDHannEancqcnfflB 



i-H' 



O- 




A T -nnnn anna 
P ..■■BS., 



■ iC3 in 11 
AAA 



:; :: i 
A B 



.:: :: :: a 
B B B C 
Fig. 816. 



n ■ a 

1 1 

c c 



Fig. 816 illustrates another fancy weave for Astrakhans, containing the "terry" and " velvet ' r 
principles. The arrangement for the warp is : 2 ends ground, 1 end pile-warp (for terry); 1 end 
pile-warp (for velvet), 1 2 times over. The warp-threads marked on bottom of the design A, B, C, 
are for the velvet, and the warp-threads marked /, K, L, (indicated on top of the design), are for 
the terry. Picks D, D' , E, E ', H, H' , are to be the " cut " effect, and picks M, P, N, P', 0, P", 



177 



the "uncut" effect. The weave for the body of the fabric is the common 2-harness rib-weave 
(two picks in a shed of common plain). 

In diagram Fig. 817, the motive for the pile-warp is clearly illustrated (representing the 3- 

harness twill ' 5 , velvet effect upon a terry ground for motive). It will be easily seen by any 

one that an endless variety of weaves and effects may be secured by combining cut with imciit 



Seam* 




Fig. 818. 

pile. And whatever designs may be required, the principles given and illustrated in the preceding 
examples, will always apply, as they remain unchanged. 

In the method of weaving Astrakhan fabrics, as thus far explained, the raising of the pile 
has been effected with the use of wires, over which the loops of the pile were formed, and which 
were inserted and withdrawn at intervals. These wires being constructed in a single piece, the 




Fig. 819. 

width of the fabric which can be made on them is necessarily limited, as a very long wire cannot 
be withdrawn and inserted with precision automatically by the loom. Also, the means for 
operating such wires are of a character to prevent rapid weaving; hence it requires a special loom 
of complicated construction. 

In fabrics of a " cut " pile character and in fabrics in which the warp pile is not cut but inter- 
woven very loosely, this process of interlacing and its loom (power or hand) must be used ; while 



178 

in " terry " pile Astrakhans, which have their pile warp rather solidly interlaced with the body- 
structure, a device has lately been invented by T. Harrison, which he claims can be applied to 
almost any power loom, and is not limited to the width of the fabric which it can produce, and 
which can be arranged so as to form the pile at any desired interval upon the surface of the 
body fabric. It consists of a movable frame carrying a series of short " wires " upon which the 




pile loops can be formed, each wire being pivoted at right angles to the plane of its longitudinal 
movement and provided with means for depressing its free end at proper intervals, so as to engage 
beneath the warps which are to form the pile. 

In Fig. 818 an exterior side-view of a loom embodying the arrangement is given. In this, 
as well as in the following drawings, referring to the present subject, those parts are omitted 




which are well understood in their action and whose insertion in the drawings would only tend 
to confuse the mind, and render a comprehension of the special parts to which the present 
arrangement relates, less clear. 

Fig. 819 is a view in detail of a portion of the sectional wire which forms the basis of the 
arrangement, showing various parts connected with the portion of the sectional wire, as also a 
number of warp and filling-threads. 



179 



Fig. 820 is a front elevation of the loom with its attachment for raising the pile-warp. In 
this drawing the working parts are shown in one extreme position, while in Fig. 821 (corres- 
ponding to Fig. 820) they are shown in the other extreme. 

In diagrams I to X in Fig. 822 are represented the positions which the threads assume at 
each stage of the formation of the fabric. 

Two pile-warps may be used, which are indicated respectively by 1 and 2. The body-warps 
3 and 4 of the fabric are brought from a separate beam. To form a row of loops with the pile- 
warp 1, the operation commences, as shown in Diagram I of Fig. 822 — that is to say, the points 
of the wires a are all depressed, and the frame is at the extreme right-hand position shown in 





Fig. 822. 

Fig. 821. Each wire a thereupon enters beneath a number of warp-threads and raises them 
slightly above the plane of the fabric. A shuttle is then shot through, after which the body- 
warp 4 rises and the pile-warp 1 descends, as shown in Diagram II of Fig. 822. The pile- 
warp 2 rises and a pick of the shuttle follows, and the action of the reed throws the filling-thread 
toward the wire a, so as to close the, row of pile-loops thereon, as indicated in Diagram III of 
Fig. 822. The weaving then continues, as indicated from IV to VII inclusive, in Fig. 822, by 
means of both pile-warps and both body-warps, the shuttle operating in the ordinary manner. 
During all this period the taking up of the cloth has drawn over the bottom of the pile-loop 
somewhat to the left in the diagrams, and as soon as a sufficient number of picks have been 
made to securely lock the pile-loops the frame and the wires a are thrown to the right of Fig. 



180 

820, or toward the observer from the point of view in the diagrams. This disengages the wires 
from the loops which they have heretofore supported, and leaves them as shown in diagram VIII 
in Fig. 822. So long as the wires have been surrounded by the loops and have rested upon the 
body of the fabric they have been maintained in a horizontal position ; but upon their being 
withdrawn from the loops and upon the rise of the frame bodily, this support ceases and the 
ends of the wires a dip downward by the tension of the spring. This position immediately 
follows upon their withdrawal, and occurs when the frame is at the extreme right-hand position 
(shown in Fig. 821), or, in other words, is ready to engage with a fresh set of pile-warps. 

Returning now to the Diagram IX, Fig. 820, it will be seen that both the pile-warps are up ; 
but in the Diagram X, Fig. 820, the pile-warp 1 (which has just formed the first series of loops) 
is down, and with it the body-warps 3 and 4 have descended, leaving only the pile-warp 2 up and 
ready to be engaged by the wires a, whereupon a repetition of the ten positions indicated will 
occur with the pile-warp 2, and so on throughout the weaving operation, the rows of pile-loops 
alternating from the warps 1 and 2. 

In the method illustrated in the diagrams six picks of filling are represented between the 
rows of pile-loops ; but this number can be varied by varying the frequency of movements of 
the frame and wires relatively to the picks of the shuttle, and in many cases a much less num- 
ber of picks will be found sufficient to lock the pile-loops, so as to prevent them from pulling 
out. 

The invention claims further that the frame and its sectional wires can be applied to almost 
any well-known form of loom without interfering with the general arrangement thereof, and by 
merely increasing the number of wires a the fabric may be produced of as great width as the 
loom is capable of weaving. In the drawings the number of wires has been arbitrarily reduced 
and their individual proportions exaggerated, in order to more clearly show their construction; 
but in practice for making Astrakhans good results are obtained with wires one-eighth of ah inch 
gauge, each about four inches long. Wires of any gauge may, however, be used, according to 
the fineness of pile which it is desired to produce, the only limit being in the stiffness of the 
wire, which of course may be relatively increased by diminishing the length of the individual 
sections. 

Machines for Curling Warp-threads for Astrakhans. 

In the manufacture of "Astrakhans" (and similar fabrics) it is necessary to impart a perma- 
nent curl or twist to the warp threads which are to form the face of the fabric. The yarn is 
crimped, the length of the crimp being regulated by the amount of waviness it is desired to give- 
The crimping is set in the yarn by a steaming process ; the yarn is then made into a warp and 
woven over wires and cut, or the wires are withdrawn without cutting, as explained in the preced- 
ing articles on weaving these fabrics. The moment the wire is withdrawn (cut or uncut, as 
required,) it falls into crimps again, and thus is produced that wavy shagginess which characterizes 
the surface of these fabrics. 

Until lately, the method of producing these wavy yarns was a very slow one, the operation 
having been performed by hand. At present, however, they are produced quickly and entirely 
automatically by one operation of the machine. 

Figs. 823, 824 and 825 illustrate a machine for performing this work. 

The main part of the machine is a solid metal spindle, on which the thread is wound from a 
bobbin having a rotary motion around the spindle. As soon as the thread begins to wind on the 
spindle it is forced between two rolls, which are pressing against the direction of the winding of 
the thread on the spindle, and through their rotation draw the thread from the spindle. 

These rolls are heated by a gas jet and transfer their heat to the thread. Through the pres- 
sure and the heat the required curling of the thread is fixed. 



181 

Fig. 823 represents a side view of the machine. Fig. 824 represents the top view. Fig. 
825 represents the mechanism for curling the thread (enlarged from Figs. 823 and 824). 

In Figs. 826, 827, 828, 829 and 830, we illustrate another machine (patented by T. Harrison) 
for preparing these pile warp-threads for Astrakhans or similar fabrics. Fig. 826 represents the 
front elevation of the machine. Fig. 827 a vertical central section through the coiling device. 
Fig. 828 illustrates a side elevation of the uncoiling device. Fig. 829 represents the top view of 
the latter, and Fig. 830 a view of the stop, by means of which a positive motion is imparted to 
the coiling mechanism. 

We will next give a description of the different parts of this machine as mentioned in the 
invention. 

B represents the frame of the machine, consisting of two parallel housings, with an inclined 
upper portion marked B l . 

A 3 is the driving shaft, to which the power is imparted by a belt upon the pulley A 1 . Upon 
the driving shaft is mounted a drum, extending entirely across the interior of the machine, and 





Fig. 824. 



Fiu. 823. 



which is provided at intervals with grooves to receive a series of small driving cords or belts, 
which, after being brought into a horizontal plane by passing the inclined part of the belt over 
idlers, pass around a series of horizontal "whirls," which are journaled upon vertical rings H 
secured in a series of openings formed in the transverse platform L 2 . These whirls are formed 
with a circumferential flange on their upper side, thus providing seats for the " fliers " G and F. 
The three fliers marked G are coiling devices, the three marked F being the uncoiling devices. 
The coiling fliers each consist of the two uprights, mounted at the bottom upon a ring which fits 
snugly within the flange of the wheel. At the top the two uprights are connected with a central 
sleeve which revolves upon a vertical tubular stem, which passes downward through the axis of 
rotation of the flier and for some distance below, where it is secured in the transverse piece 
E 1 , extending across from side to side of the machine at the front thereof. The spool upon which 
the warp that is to be coiled is wound in the first instance, fits snugly, but so as to revolve freely 
upon the outside of the before mentioned stem and rests upon a standard, through whose centre 
the said stem passes freely. 



182 



The last mentioned standard passes freely through the ring H and is supported upon a 
fixed platform K. The coiling flier is provided with eyes / / l L, the latter of which is situated at 
the top of the sleeve G*, and is at right angles to the axis of rotation. At the bottom of the 
coiling fliers are stop-pins K z (see Fig. 830) projecting into slots in the flange of the whirls. 
These stops make the rotation of the coiling-fliers positive. 

As before stated, there are in the machine shown in the drawing, Fig. 826, six of the horizon- 
tal whirls, three of which drive the coiling-fliers, the other three driving the uncoiling-fliers. 
These latter resemble the coiling-fliers in shape, having uprights connected by bottom rings, 
which rest loosely within the flanges of the whirls, but which (unlike the coiling-fliers) are not 
positively connected therewith, the weight of the flier alone being the means by which it receives 





Fig. 825. 



its motion from the whirl. The uncoiling-fliers have eyes it 1 at top and bottom, respectively, 
the latter being the eye which delivers the thread to the spool or body. They have also at the 
top a brake mechanism. 

A tubular stem extends down through the axis of rotation of each of the uncoiling-fliers, 
and is held in the cross-bar E' . These stems receive bearings at the top of the uncoiling-fliers. 
The spools or bobbins of the uncoiling-fliers fit snugly around the stems and are supported upon 
standards which also surround said stems, but which are mounted upon a vertically-movable 
cross-piece arranged to be reciprocated in a vertical direction. The spools or bobbins of the 
uncoiling-fliers are thus adapted to receive a rising and falling movement within the flier during 
the rotation of the latter, and in this respect differ from the spools of the coiling-fliers, which are 



183 

stationary so far as vertical movement is concerned. The upper ends of the fliers extend into 
openings in the shelf or platform, provided with rings, and are thus shielded during rotation. 
The latter shelf is hinged at the rear, so as to be thrown back when the fliers are to be 
removed. 

The brake mechanism of the uncoiling fliers is constructed as follows: Upon the top of each 
sleeve there is pivoted upon one side a lever, through the centre of which there is a vertical hole 
coinciding with the opening of the stem. This lever has at its rear end a cam-surface, which, 
when the lever is in a horizontal position, rests without substantial pressure against the stem. 
At the front end of the lever is an eye through which the thread, which is being uncoiled, passes, 





Fig. 827. 



Fig. 828. 



and thence rises to the eye i, mounted upon the top of the flier. So long as the portion of the 
thread between the eye and the axis of rotation of the fliers is substantially horizontal the lever 
will remain in a horizontal position ; but if that portion of the thread rises to an angle with the 
horizontal, then the strain upon the eye will raise the front end of the lever and bring the cam p 
gradually around, so as to press upon the top of the stem. The cam-surface being eccentric, as 
it turns in the direction of its longest axis, it will raise the flier F bodily by bearing upon the top 
of the stem, and in so raising it will lift the flier clear of the whirl, so that motion will be no 
longer imparted to the flier. If desired, the lift may be such as to bring the upper part of the 
flier into frictional contact with the under side of the ring. 



184 

At the top of the machine is mounted upon suitable pins the spools or bobbins M, which 
contain the cord which is to form the core for winding the Astrakhan warp upon. These bobbins, 
like the coiling-fliers, are three in number, and the cord from them passes through feeding 
mechanism, down over pulleys mounted upon a horizontal shaft, and through the central stem of 
the coiling-fliers. 

A belt conveys motion from the driving-shaft A 3 to a pulley, and thence by gears and pinions 
a very slow rotary motion is imparted to the shaft, which extends entirely across the top of the 
machine, near the bottom of the incline. Upon this shaft are mounted friction-rollers S, three in 
number, over which the cord passes on its way from the spools M. Upon the cross-piece v are 
mounted overhanging arms which support the shaft Q, on which are mounted friction-rollers 
bearing down upon the rollers 5. The shaft Q is provided with a spring pressure device, con- 
sisting of a vertical stem having a sliding collar with a hook-shaped projection, which engages 
with the shaft, and a spring whose tension is adjustable by means of a thumb-nut. By means of 
this tension device the rollers s' can be caused to bear upon the rollers 6" with any desired degree 
of pressure. Therefore, although the take-up devices at the bottom pull the cord with some 
strain, it is fed to them by the positive motion of the rollers S, and cannot be drawn more rapidly 
than the rotation of the latter will permit. A similar set of feeding-rollers, w w' , the latter 
mounted in similar spring-bearings, are arranged to deliver the cords from the bobbins to the 
three uncoiling-fliers upon the other side of the machine ; but the diameter of the positive feed- 




Fig. 829. Fig. 830. 

ing-rollers w is less than that of the feeding-rollers S, and with the effect of feeding more slowly 
to the uncoiling-fliers than to the coiling-fliers. 

The take-up bobbins 0' M 1 for the cords, which pass from the coiling-fliers and uncoiling- 
fliers respectively, are mounted upon horizontal rotating seats R, placed at the bottom of the 
machine and driven by the twist-belts passing around pulleys secured to the seats. The twist- 
belts are so arranged that they can slip upon their respective pulleys, in case the feed from above 
requires such slipping. 

In order to wind the cords upon the respective bobbins 0' M' evenly, a traveling guide-bar, 
E, is provided, which receives a slow vertical reciprocating motion. This traveling bar carries 
vertical rods, which rise and fall with it, these rods being guided by suitable openings in the 
cross-bar E. The rod f serves merely as a guide-rod, but the other two rods f, carry at their 
tops a cross-piece, which supports the standards of the bobbins F. Thus if a vertical reciproca- 
tion is imparted to the traveling bar E its motion will cause the bobbin to rise and fall in the same 
manner. 

The traveling bar E is provided with openings or eyes opposite to the bobbins 0' M , which 
openings guide the thread during the rise and fall of the bar, so as to distribute it equally upon 
the 'bobbins. 

The operation of the machine in coiling and uncoiling the yarn is as follows : 

Upon the three bobbins M, at the top of the machine (see Fig. 826), are coiled cords which 
are to form the cores for winding the Astrakhan warp upon. These cores are carried down be- 
tween the feeding rollers .9 S', over three of the rollers v, and on down through the axes of the 



185 

three coiling-fliers ; the passage being of course through the tubular shafts. They then are 
brought down and passed through the three left-hand eyes of the traveling guide-bar £, and are 
secured to the three bobbins 0'. The Astrakhan warps which are to be coiled are wound in the 
first instance on the bobbins G', and placed in position within the three coiling-fliers. The ends 
of the Astrakhan thread, having been brought through the eyes / /' L, are tied fast to the three 
cores at a point just above the fliers G. Assuming now that the proper feeding and take-up 
movements occur at top and bottom of the machine, respectively, and that the fliers G are rapidly 
rotated, it will be seen that the Astrakhan thread is drawn off from its bobbin and coiled tightly 
around the core. As the coiling progresses the feeding and take-up movements cause the com- 
posite cords to pass down through the tubular shafts, and thence to the bobbins 0'. The travel- 
ing guide-bar E causes the composite cords to be evenly wound upon the bobbins 0'. 

When a sufficient quantity has thus been formed, the composite cord — that is to say, the core 
with the Astrakhan warp wound tightly around it — is removed, steamed, or otherwise treated to 
render its twist permanent, and is then ready for uncoiling. A portion of the core m at the end 
of the composite cord is left uncovered for a clearer illustration. 

The uncoiling operation is as follows : The uncovered end portion of the composite cord 
(now upon the three bobbins at the top of the machine) is brought down through its feed- 
ing-rollers iv iv' over the three right-hand rollers v, and thence down through the tubular shafts, 
through the three right-hand end eyes of the guide-bar E, and secured to the three bobbins AT. ' 
The uncovered portion having been fed down until the commencement of the covered portion or 
composite cord reaches the top of the uncoiling-fliers. Then carry a loose end of the Astrakhan 
warp through the eyes of the lever P up to the eye i, and then down to the eye i at the bottom of 
the uncoiling-flier, when it is taken across to the bobbin and there fastened. The feeding move- 
ment at the top and the take-up movement at the bottom being continued and the uncoiling-fliers 
being rapidly rotated in the proper direction, they will uncoil the warp from the composite cords 
and wind up the now twisted warp upon the bobbins. These bobbins have the proper rising and 
falling motion to distribute the warp evenly upon them. The uncoiling movement is necessarily a 
trifle slower than the coiling movement, hence the composite cords do not require to be fed so fast as 
do the cores upon the other side of the machine. This difference of speed is produced by smaller 
diameters of the feeding rollers w as compared with the feeding rollers 5. The uncoiling operation 
continues and the cores ware wound up in a proper manner upon the bobbins at the bottom of the ma- 
chine so that they can be again transferred to the positions indicated by M and the operation re- 
peated. If the uncoiling tends to progress too rapidly, it is checked by the brake mechanism 
upon the uncoiling-fliers, which are operated by the portion n' of the warp assuming an inclined 
position, instead of substantially a horizontal one, between the eye and the core from which it is 
unwound. If the uncoiling takes place too rapidly, relatively to the downward feed of the core, 
the point of the uncoiling will rise higher and higher upon said cord, and will thus produce that 
inclination of the warp necessary to operate the brake mechanism. The uncoiling of the warp is 
thus automatically regulated by this brake mechanism and cannot progress with such rapidity as 
to tangle the warp or to break it 

TAPESTRY CARPET. 

Tapestry-carpet is a warp pile fabric in which the loop formed by the face warp-threads is 
not cut. The demand for its production is found in the need of a cheaper and more economical 
imitation of what is known as Brussels carpet. In its general appearance it resembles the latter 
to a great extent, but in its method of construction differs wholly from it, as may be seen by any 
one that examines the two methods. In tapestry carpets three different systems of warp-threads 
are used : A, the ground-warp ; B, the pile-warp or face-warp ; C, the stoffer or thickening-warp. 



186 

The general arrangement for the warp is : 

I end ground or binder-warp, 

I end double or three-ply thread, of stout linen for strengthening or thickening the body of 

the carpet, resting in the fabric below the pile-warp and actually forming the main part 

of the back of the structure. 
I end double thread of worsted for face-warp forming the pile, by being interlaced into every 

third opening of the shed over a wire, as required for the face of these fabrics. 
I end ground or binder-warp. 

4 ends in repeat of arrangement of warp (= one set); to be reeded into one dent. 

The pile or face-warp, before being wound upon the warp-beam, has the pattern printed 
on it by wrapping the threads around a large cylinder, and coloring them according to the 
design. 

The length of a certain color for each pile-thread, required for each individual loop when 
woven, is regulated by the size of the needles used. 

Fig. 831 illustrates the example of a pile-warp printed as required before weaving. The 
same illustrates four different colors : black, white, heavy-shaded and light-shaded. 

Fig. 832 illustrates the same pile-warp as it appears when interlaced into the fabric ; each 
effect in the warp being reduced to its required size or proportion to the corresponding effect in 
the design. 

Fig. 833 illustrates the sectional cut of the fabric. 

A and A' represent the ground-warp; B, the thickening- warp; C, the pile-warp; W, the wire 
requiring every third opening of the shed. Picks 1 and 2, requiring the first two openings of 
the shed in the repeat of three, are the means for interlacing the ground-cloth as well as fastening 
the pile to this ground structure. 

Fig. 834 illustrates the complete draft, or weave for producing a tapestry carpet. Each 
warp-thread and pick is marked in accordance with previously given explanations. 

Different Qualities of Tapestry Carpets. 

The fineness as well as the value of these carpets is regulated by the quality of the material 
used as also by the height of the pile and number of pile-pick (technically known as number of 
wires) per inch. Seven to eight wires per inch are about the usual number in the arrangement. 

Method far Ascertaining Size of Designing Paper Wanted. 

The designs for tapestry carpets are generally painted on the squared designing paper in 
about a size equal to the design upon the face of the fabric when woven. Thus the number ol 
small squares to one inch in a horizontal as well as a vertical direction on the designing paper is 
regulated by the number of loops in the woven fabric, both in the direction of the warp and the 
filling. 

In some cases the number of loops is equal in both directions, while in others it differs to 
some extent. Designing papers known as 8 x 8 to 1 inch and 8 x 7 to 1 inch are those most 
frequently used. Tapestry carpets are generally produced 27 inches wide ; therefore the design 
will have to be of equal width. That arrangement for the design may be selected known as 
the " half-over pattern," or one that has one complete repeat in one width ; or a design may be 
produced which repeats twice (or oftener if small figures are wanted) in one repeat of 27 inches in 
the fabric. 

Lately a method of producing effects in tapestry carpets, classified as " sheeny " or " varie- 
gated," has been patented in this country, England and France, but is nothing more than a 



187 

method of arranging the design of the carpet so as to make use of more or less solid colored 
pile-warp yarn, hence requires no printing for this amount of warp. In Fig. 835 such an effect 
is illustrated; a represents the solid colored threads, b represents the printed threads. Each 





Fig. 833. 



g o 6 C fe „; 5 

g S J o 3 £ o 







X 




u 






■ 




m* 




* 




X 


* 


% 


w* 




•*• 






•X 








1 




ft 






X 





Ground. 
Wire. 
[ Ground. 

Wire. 
Ground. 



Fig. 834. 




Fig. 831. 



Fig. 835. 



kind of pile-warp is operated from a separate beam ; so it will be seen that a general range of 
effects can be produced by simply varying the solid colored threads in each style, leaving the 
printed warp entirely undisturbed. 




188 

BRUSSELS CARPET. 

Brussels carpet is a warp-pile fabric in which figures are produced by raising over the wire 
different solid colored warp-threads at certain places according to the design. Brussels carpets 
are of a far superior character, as respects color, quality of material used and the structure, than 
the tapestry carpets which have been just explained. 

In Brussels carpets the colors used are generally " fast," as the yarn is hank-dyed and not 
colored in the warp as is done with the tapestry carpets. 

Brussels carpets are technically classified by " frames," or in other words by the number of 
different colors called for in a vertical row of squares on the designing paper, as also one row 
of loops in the direction of the warp in the fabric. 

In tapestry carpets one double thread of worsted, printed according to the design, is 
used for one row of loops (warp-ways) while in Brussels carpets a similar double thread is 
used for each color as required by one row of squares warp ways in the design. One color 
only is raised at the time, while the threads then not called for rest in the body and partly 
on the back of the fabric ; therefore the thickness and substance of the fabric is not due to 
cotton or jute thickening threads, as in the body of the tapestry, but the same pure wool- 
thread which forms the face will at every place not called for by its color in the design, form 
part of the " body." 

The ground-warp in Brussels carpets is interlaced with the filling on the common four- 

harness basket- weave ( I arranged so as to have each 

\D[JSiB/ 

two successive picks insert in the same opening of the shed 

(of the gronnd-warp) and only separated by the pile warps. 

Fig. 836. One pick passes above, and its mate pick below the 

pile warp-threads holding the latter firmly secured between; 

thus, if the raising of the pile warp over its wire for forming the characteristic loop should be 

omitted, we would produce nothing more than a fabric interlaced on the common four-harness 

basket-weave having a stout packing or thickening thread in the centre. 

As mentioned before, Brussels carpets are graded by "frames." There are three-frame, four- 
frame, five-frame and six frame Brussels carpets. 

Under "frame" we classify the number of different colors found in the different rows of 
squares in a vertical direction on the designing paper ; thus a three-frame Brussels carpet has 
three different colors in one row of loops (warp-ways) in the fabric. Any of these three colors 
can at any other row of loops (warp-ways) be exchanged to a different color without changing 
the principle of a " three-frame " carpet. 

A "four-frame" Brussels carpet will extend the number of colors for each row of loops to 
four colors. Thus, a "five-frame" Brussels carpet will show five different colors in one row 
of loops warp-ways. A "six-frame" Brussels carpet will extend these number of changes to six 
colors. 

Having an individual warp-thread for each color in the formation of the loops will also 
speak greatly in favor of the Brussels as compared to the tapestry carpets. By means of these 
separate threads the design will be more clearly defined and its various parts more pronounced, 
while in tapestry carpets the figure is always more or less indistinct, which arises from the 
method of operation by which the pattern is produced. 

In Brussels carpets the different colors used are variously distributed, one color being used 
to a greater extent than the other, etc. This method of using every pile warp-thread at will and 
in a different amount than another, requires us to use instead of ordinary warp yarn beams, 
bobbins or miniature beams fixed in frames, or a huge creel, stationed behind the loom. The 
manner in which the different colors are controlled, in other words, in which they are concealed 



189 

from or brought into view upon the face of the fabric is of great importance in the manufacture 
of this article. 

Method of Structure of the Brussels Carpet. 

The pile (loop) is formed the same as in common (uncut) velvet fabrics by the insertion of 
wires (see Fig. 836) under the pile-threads; but the method of selection is different In producing 
a common velvet fabric we raise either the entire warp or one-half, etc., over each wire, while in 
Brussels carpet we select for each individual loop from a series of duplicate threads (set-frame) 
each of which has a different color. Another difference between a common velvet fabric and a 
Brussels carpet is found in the manner of operating the pile-warp during the insertion of ground- 
picks. In common pile fabrics, as explained in preceding articles, the pile-warps interlace up 
and down in the body of the fabric, while in Brussels carpet the face or pile-warp rests during 
the time it is not used for forming loops in a straight line in the body of the fabric. 

Three-frame Brussels Carpet. 

Fig. 837 illustrates part of a design technically known as a " three-frame " Brussels carpet. 
In the same the different colors for 8 loops, warp and filling-ways (which equals in the present 



■ ■::::■ ■ 
:;:::: :::::: 
:•/.::: ;:;:;: 

1 ■ ■■ ■; ' 
: :■ -«■' ■ i 
mi". :;;):! 
:::;:; ::c::j 

■ ■::::■ ■ 

Fig. 837. 



■ :: ■:: ■:; ■:: ■:: ■:: ■!: ■':: ] 

■ :: ■:: ■;: ■:: ■:: ■:: ■;: •:: 

■ ■::::■ ■ i 

■ ■ a ■ c: 1 

,:"■ ■ ■ ■ 



■ ■::::■ 



dent. dent. 



U?, 



,&. 



example 8 by 8 = 64 loops) are indicated for each color by a separate kind of type. In the same 
line of the design (looking at the design lengthways), apparently in the same thread, three colors 
form the pile in succession, which is practically produced by employing three distinct threads, 
each of which is so controlled that it only appears in the pile when required to produce the 
design. 

In Fig. 838 the ground plan of the method of interlacing is shown. On the top of the plan 
the arrangement of the warp is indicated. 

1 end binder-warp. 

3 ends face or pile-warp, each representing a two-fold end of worsted and each of these 3 so 
indicated pile-threads to be of a different color than the other. 

I end binder-warp. 

5 ends in the repeat of arrangement for the warp. Thus 5X8 = 40 threads of warp in ground 
plan, representing the construction of a 3-frame Brussels carpet, similar to the one shown in 
design Fig. 837. 



190 



In plan Fig. 838 every shed for inserting the wire is represented on the left side of the 
design ; and on comparing with the part of the design of the face, Fig. 837, it represents the 
threads as indicated in the latter raised from each set. 

Pick 1 in the design calls for 1 ■, 1 1, 1 ■, 2 g, 1 1, 1 1, 11, Examining wire 1 in the plan we 
find the selecting of the different colors from each set arranged accordingly. 
Thus we select — 

From the first set 
second 
third 
fourth 
fifth 
sixth 
seventh ' 
eighth " ■, etc. 

Pick 2 in the design calls for 3 □, 2 a, 3 a, and the colors of the face-warp for raising over 
wire number 2 in the plan are selected accordingly. 

From the first set of 3 pile warp-threads we call for □. 
second " 
third " 
fourth " 
fifth " 
sixth " 
seventh " 
eighth " 



Pick 3 is a repetition of pick number 2. 

Pick 4 in the design calls for 1 a, n, I i, 2 i, 1 «, n, 1 «, and the colors of the pile-warp 
raising over wire number 4 in the plan are selected to correspond. 

From the first set of 3 pile warp-threads we call for a. 
" second 

third 
" fourth 

fifth 
" sixth 
" seventh 
" eighth 

Pick 5 in the design calls for is, 1 1,11,21, 1 a, 1 ■, 1 q, and the colors of the pile-warp 
raising over wire number 5 are selected to correspond. 

From the first set of 3 pile warp-threads we call for 
" second " " " " " 

third " " " " " 

" fourth " " " " " 

fifth 
" sixth " " " " " 

" seventh " " " " " 

eighth " 
Picks 6 and 7 are duplicates of picks numbers 2 and 3. 



191 



Pick 8 in the design calls for i ■, i ■, n, 2 a, I i, I ■, H, and the pile warp-threads raising 
over wire number 8, as shown in the plan, are selected to correspond in colors. 
From the first set of 3 pile warp-threads we call for ■. 
" second " 
third " 
" fourth " 

fifth 
" sixth " 
" seventh " 
eighth " 

Any pick that will be called for in any complete design always has its method of interlacing 
arranged similar to the principle explained in the specimen 8 picks of part of a design given for 
example. 

Pile. 



Fig. 839. 




Fig. 840. 



The two binder warp-threads working between each set of threads in Brussels carpet of any 
" frame," interlace with the filling as shown in Fig. 839. 

The reeding of a 3-frame Brussels carpet is arranged for " 1 binder, 3 pile, 1 binder," in each 
dent; thus splitting by the reed always the two binder warp-threads. 

Fig. 840 illustrates the section of a 3-frame Brussels carpet. In the same, threads marked 
d and e represent the binder-threads. A, B, C, represent the 3 different colored pile warp-threads. 
Wires 1, 2, 3, 4, 5, 6, 7, illustrate the section of the wires as used in the opening of the 3d, 6th, 
9th, I2th, 15th, 18th, and 21st opening of the shed. Picks 1, 2, 4, 5, 7, 8, 10, 11, 13, 14, 16, 17, 
etc., of the ground structure of the fabric are indicated by shaded circles. 



: 



Fig. S42. 



The binder-warp is drawn in two common harness frames which are placed in front of the 
Jacquard-harness. The face or pile is drawn in the Jacquard-harness, which is tied up for as 
many sections as there are frames in the carpet, so that in the present example of a 3-frame car- 
pet we must use a 3- section tie-up. (See section on "tie-ups" in my treatise on The Jacquard, etc.) 
By forming the shed for the insertion of a wire only one pile warp-thread from each set is raised, 
as is required by the design. If the pile-warp in a carpet, constructed as thus far explained, is 
cut, the name Brussels is changed to Wilton. 







192 

Diagram Fig. 841 illustrates the method of interlacing a 3-frame Brussels carpet. This 
diagram readily explains itself on examination. "Warp-threads indicated by A, B, C, are the three 
different colored pile-threads required (as explained before). Thread A is shown blank, thread B 
shaded, and C black. The binder or body warp-threads, situated in the fabric on each side of the 
face-threads, are indicated by / and 2. The ground picks and places for inserting the wires are 



a;; a ■::• •:< ■:: * ■:: * ■:: * ■:: -i- a:: * 



1 m<a< <■ ■ urn 
1 : b .aa: i 
1 : ; ■:: . a 

E2 '» IHV : =1 

1 .an i ■ 

iqi ii :: iBB: 1 



Fig. 843. 



3T..7J3EI «-'.3Q-ZU 

DD( leacoaa .u 
n inoi g :: ana 



■ ■ 



Fig. 844. 

marked on the bottom of the diagram. P on the top of the drawing represents the interlacing 
of the fabric, omitting the loops, and thus giving, at a glance, the correct principle of interlacing 
the body. 

Fig. 842 illustrates the weave for this part'. Shed for " wire " omitted. 5 on the top of the 
drawing Fig. 841 represents the entire procedure. The wire marked 1 calls for the raising of 
warp-thread C (= black) for forming the face of the fabric. Wire marked 2, the successive wire, 
calls for the raising of warp-thread B (= shaded) for forming the face of the fabric. 



□ *[]' : BBG 



1 ■■::□«: 

ii ■■■une-a 

Fig. 8453. 




i a ;i Da ._■ 

BGEEKBS ' • ■ 

re onHaaDQ 
DD .:u.:'j BQQi 



:.::■■-■ :::•.■■■ ■;:.. ..■:. ■ ■ - ji •■'.-:. •■•-.•....:.. 



it. I 



Fig. 8456. 



Wire marked 3, the next successive wire, calls for the raising of warp-thread C {= blank) 
for forming the face of the fabric. 

Warp-threads 2-C—B-A-1 are drawn in one dent of the reed, as indicated on the left-hand 
side of the drawing. 

Fig. 843 illustrates part of a Brussels carpet design classified as a "four-frame." 



193 

Fig. 844 furnishes an analysis of the latter. The difference in the construction of a " four- 
frame," as compared to a "three-frame" carpet, consists in its having four different colored pile 
warp-thieads, instead of only three, as in the latter, so that the figuring possible in both carpets 
is equal in proportion as 4 is to 3. 

Having thoroughly described the method of constructing the " three-frame " carpet, the 
present " four-frame " design will the more readily explain itself. 

Fig. 845 a illustrates part of a design for a " five-frame " carpet, which in Fig. 845 /; is also 
analyzed. 

Brussels and Wilton carpets are made up to and including " six-frames," also " in part of 
full frames " (after the " three-frame "), as may often be required in order to cheapen the fabric. 

DOUBLE-FACED PILE CARPETS 

In which the Pile is Produced by Inserting a Special Heavy Filling-Cord 
Instead of a Wire. 

The construction of these fabrics has for its object the production of a cheap, strong, firm 
and durable double-faced carpet, wherein the figure at each side of the fabric is derived from 



A. 1 < A' 1 c A' 




nil 





,„..-- 


' ' 




- -■■ 


'-- 




M 




tm 






' ■""! ■" 


,,., 




















1 


1 



Fig. 847. 



Fig. 848. 



face-warps appearing upon one and then upon the other side of the fabric for one or more 
rib-picks. In addition to the face-warp there is also used a binder-warp, usually having two threads 
worsted face-warp alternate with one end binder-warp. These face and binder-warp-threads are 
interlaced into one fabric by means of two kinds of filling, the interior (heavy) filling and the 
binder-filling. The binder-filling at alternate picks passes above all the face-warps and then 
below all the face-warps. The binder-filling is tied to the upper and then to the lower side of 
the face-warp by the binder-warp, two picks of binder-filling and two picks of stuffer (interior, 
heavy or cord) filling being put in in succession. The binder-warp is lifted into the upper half 
of the shed between the insertion of the first and second picks of stuffer (cord) filling, the binder- 
warp thus splitting the stuffer or interior filling. The crossing of the warp and filling is such as 
to enable the two picks of interior or stuffer, when beat up into the shed, to lie nearly one over 
the other, forming ribs opposite each other at opposite faces of the fabric. 

Fig. 846 represents a longitudinal section. 

Fig. 847 is a diagram representing the arrangement of the warp and filling as they interlace 
.'in the fabric. 






194 

Fig. 848 illustrates part of a design (face and back) corresponding to diagram Fig. 847. 

The threads shown in Figs. 846 and 847 are separated for a clearer understanding of their 
working ; but in the actual fabric they are beat closely together by the reed and appear somewhat 
similar to those illustrated in part of a design (effect) Fig. 848. 

Method of Operation. 

These carpets are produced on an ordinary two-box Jacquard loom with the addition of front- 
harness. For the binder-warps an independent harness or set of harness is provided, being 
operated through a cam on the picker shaft. The sheds for the binder-filling are formed by the 
binder-warps on the one hand and by all the face or body-warps on the other hand. The face- 
warps (indicated by letters E, £', G, G' in Figs. 846 and 847), which are generally of worsted and 
of different colors, and dyed or printed according to the colors and patterns it is desired that the 
carpet shall show, will be operated on by a Jacquard machine of the usual construction, so as to 
split the face-warps at suitable intervals to form sheds for the introduction of the stuffer or 
interior filling (indicated by letters E, A', in Figs. 846 and 847) carried by a shuttle. The face 
warp-threads uppermost or at one side of the fabric remain at that side of the fabric for as many 
picks as desired, and then are carried to the other side of the fabric. 

The binder-warps (indicated by letter d in Figs. 846 and 847) are carried by one or two 
harness frames and are distributed -at suitable intervals between the face-warps. They are 
arranged so as to appear at both sides or face of the fabric between each two picks of interior 
(or stuffer) filling. 

Method of Successive Interlacing of the Warps and Fillings. 

Examining Figs. 846 and 847 from the right to the left, it appears that pick 1 has all the 
face-warp down and the binder-warp raised, thus forming a shed between all of the face-warp 
and binder-warp to receive a pick of binder filling. 

Pick 2 — the second binder-pick — has all the face-warp raised and all the binder-warp 
lowered. 

Pick 3 has one-half of the face-warps raised, which with the binder-warp then down, forms 
a shed for receiving the first stuffer or interior filling. 

Pick 4 has one-half of the face-warp and the binder-warp in the upper part of the shed, and 
the other half of the face-warp in the lower part. (This pick is not illustrated in Fig. 847, it being 
opposite to pick 3.) 

This operation is repeated until such time as it is desired that the face-warp uppermost' in 
the last shed to receive the stuffer or interior filling shall be made to appear at the opposite side 
of the fabric. When it is desired to make the warp upon one face of the fabric show for one 
or more sheds upon the opposite face of the fabric, these face-warp-threads are themselves bodily 
carried, as indicated at the line F, from the upper to the lower part of the shed. 

DOUBLE-PILE FABRICS. 

Principles of Construction of the Plain "Double Plush." 

The end to be gained in the manufacture of warp pile fabrics of the 
present division is, the production of two single velvet (or similar) fabrics 
with one operation of the loom. In the manufacture of double plush the 
wires so conspicuously referred to in speaking of warp pile fabrics, are 
omitted. The pile-warp-threads, after interlacing into the "body structure" 
of one of the single fabrics, pass across to the " body structure " of the 
other fabric, where in turn they are interlaced before returning to the fabric from which they 




195 

started. Constantly exchanging pile-warp-threads from one cloth to the other forms the principle 
of double-pile weaving, and is illustrated in diagram Fig. 849 by a. After combining the 
pile of a two-ply fabric in the manner previously explained, its pile-warp-threads, running 
across the centre or interior of the fabric, are cut automatically by means of an attachment on 
the loom known as the " cutting knife." The variously constructed knives in practical use, as 
well as the methods of their operation, are treated later on. 

Methods in Use for Interlacing the Pile-zuarp in Double-plush Fabrics, 

Various methods for exchanging the pile-warp in weaving " double plush," as also the different 
ways of interlacing (or fastening) these pile warp-threads to the ground-cloth of each fabric, are 
in practical use. An explanation of a few of these is given, whereby a pretty clear conception 




Fig. 850. 

may be had of the method of interlacing double plush. Diagram Fig. 850 illustrates the section 
of a double-plush fabric. In this, four distinct warp-threads are visible, and are indicated by the 
numbers 1, 2, 3 and 4. These four warp-threads and the sixteen sections of the filling illustrate 
one repeat of the arrangement of the warp and filling, as well as the method of intersecting 
both systems, technically known as their weave. Line A to B in the diagram indicates the direc- 
tion for cutting the pile-warp. 

In diagram Fig. 851, another method for forming double plush is shown. The diagram 
illustrates the section from a specimen fabric. 

In this, two distinct sets of warp-threads (shown by dotted lines) form the body structure for 
each individual single " plush fabric," while the pile is produced by a separate set of warp-threads 
which alternately interlace into one and then the other body-structure. The body-warp for the 
upper fabric is indicated by letters A and B, and that for the lower by D and E. Line F to G 
shows the course through which the pile is cut to produce the two separate plush fabrics. 



- ■-'•.) 

r. :7 : :-5 } Picks for the top fabric. 

CEn,yjB— *) 

mam ■-; [picks for the bottom fabric. 

(1 denotes face fabric, i bottom 
fabric, 3 pile-warp.) 

Fig. 851a. 




Fig. 851. 



An analysis of the section shown in Fig. 851 gives as follows: Picks 1, 2 and 3 for the 
lower fabric and picks 4, 5 and 6 for the upper fabric. 

Fig. 85 1« is a plan of the method of interlacing, technically known as the "weave." 
2 harnesses are required for the body-warp of the upper fabric ; 2 harnesses for the body-warp of 
the lower fabric and 1 harness for carrying the pile-warp; thus 5-harness in repeat. In reeding 
the warp five threads must be put in one dent. 

To produce a well covered full face in the fabric, two kinds of ground or body-warp must 
be used. One kind for threads working as shown by warp-threads A and E, or tighter than the 
other body-warp, or threads working the same as warp-threads B and D, which operate with less 
tension ; hence two beams are necessary for the body or ground-warp, with one beam for carrying 
the pile-threads. 



196 



The adjusting, or "setting" of the harness is such that when the loom is at rest the set of 
warp-threads for the upper section of the fabric is in a sufficiently elevated position as compared 
to those for the lower cloth. The method of operation for the harness is such that for the picks 
of the upper cloth harnesses are lowered, and for picks for the lower fabrics harnesses are 
raised. This method of weaving double plush only requires one shuttle, and the weaving is per- 
formed the same as ordinary weaving. 



i ; ■ ex: 

■ Ci ! ICCBH 

i ■ Ha 

i !■ ■ ::e 
i i -;. bee.: i 
■ he 

■-■_ :eh 

i . bee ; 
i ; n ee . ) 
i: : ' MEE 
IB.' ..EH 
I i B EE . I 

i j"i be:: 
1dbui1ddhq 

Fig. 852. 



E BEEBBE jl 
H B E I J 
1 E BBEEB I 



Fig. 852^. 



Fig. 852a. 



eb'-: '::•: '"■: : : : ; -.i 
1 , :e: b h/.b 
1 :eb: . eb: : 

EB : EB. . 

e: b e„b 

1 . : hb hi:: 
E b : . E, ■ 

e ■■■«. e a : 1 1 

-EB .EB>. : I 

1 ' e, b . :: b 

i" :eb ::ei:: 



e:-:b— '. :e 




1 : . :bb: : 


eb: : 








:b ,'.u 



Fig. 852c 



aa : :»nna 
□ B . DB :•] 
: ■□ ■□ 

. DB □■ 

□b db 

IG BD 

□a : db 
■n aa 

-ED BD ! 

aa : db : 

[ BD BD 

[■:■ db: : db 

□b [-1 1 

BD BD I 

: DB DB 

1 CBD ..:-.bo 
1 1 

Fig. 852*. 




lqo:qd:qd:qo:qo:qo:od 



?A. 



»:ojd:od:ojd:ojd:ojd:o.dtojdj 



no:Qo:Qo:ao:Qo:Q dud: 



$A. 



w w v 



iGJDlOOIOJDrOJDlOJDnDTO.D; 



Fig. S525. 

The arranging of three successive picks alternately for each fabric is of no disadvantage to 
either structure. Each plush fabric will show the same smooth surface after cutting. Diagram 
Fig. 800, on page 170, in the chapter on the construction of single plush and velvet fabrics 
represents the section for each separate single cloth of the double plush illustrated in Fig. 851. 

Fig. 852 illustrates another plan for weaving double plush. In this instance a double shuttle 
loom is used (cam-loom principle), using each shuttle for interweaving in the one system of the 
structure. Consequently two sheds must be formed at one operation of the loom, which is effected 
by using for the pile-warp " Cams " which are capable of holding' the harness frames in three 



197 

different positions, "the bottom," "the centre," or "the top" part of the complete double shed. 
It will be readily understood that " the centre " refers to the upper division of the lower shed, as 
well as the bottom division of the upper shed. 

In Fig. 852 the first 4 harnesses, for future reference indicated by letters a, b, c and d, repre- 
sent the pile. In the same the ■ type indicates the raising of a harness in the top division of the 
upper shed or " the top," the ■ type indicates the placing of the harness for forming " the centre " 
(being also the temporary " shuttle-race " for the shuttle interlacing the upper ground fabric). 
This position is also technically known as " dwelling." The □ type indicates the lowering of the 
harness for forming " the bottom " of the lower shed in the loom. The rear 4 harnesses indicate 
the working of the ground warp. Harnesses indicated by 1 form the one body-structure, 
while the harnesses indicated by 2 form the other body-structure. Each set of the ground- 
harnesses (1, 1 and 2, 2) is placed by a respectively high or low strapping into its proper 
position for guiding either the ground or body warp of the upper or lower ground-cloth. 
The drafting for the present weave is 1 end ground-warp for the top cloth, I end ground-warp for 
the lower cloth, 2 ends pile-warp, thus 4 threads in one repeat. 

Fig. 852a illustrates the separate weave for interlacing each body-structure, being the com- 
mon (2-harness, 4 picks) rib-weave, or the common plain two picks in a shed. 

In Fig. 852$, six respective diagrams are given for illustrating the compound weave 
Fig. 852. Diagram indicated by a represents the section of the corresponding pile warp- 
thread a in the weave ; diagram b shows the section of pile warp-thread b in the weave ; diagram 
c illustrates the section of pile warp-thread c in the weave, and diagram d refers to pile warp- 
thread d in the weave. The ground or body-warp working close by the pile-warp is shown by 
the dotted lines in each diagram. Letter A, in all the diagrams shown under Fig. 852 b, indicates 
the upper fabric and letter B the bottom fabric. Horizontal line c to / indicates the direction for 
cutting the pile as performed afterwards. In diagram s of Fig. 852^, the complete interlacing of 
all the four pile-threads in a fabric is shown. In the same, ground-warps (as previously shown) are 
omitted so as to give a clearer understanding of the subject. Letters of reference are also 
selected to correspond with the previously explained diagrams a, b, c and d, as well as to diagram 
t, which illustrates the section of the four pile warp-threads when cut (ground-warp again omitted). 

In Fig. 852c, a separate analysis of one fabric from the double structure is given, showing 
4 pile and 2 body warp-threads and 8 picks for its repeat. Warp-threads 1 and 4 for body, 
warp-threads 2, 3, 5 and 6 for pile, h shows the raising of the body-warp , □ shows the lowering 
of the body-warp ; ■ shows the raising of the pile-warp ; a shows the lowering of the pile-warp 
for two picks down so as to interlace with the body-structure by means of raising in both adja- 
cent picks ; b shows the lowering of pile-warp for four picks so as to form the pile by means of 
interlacing with the mated body-structure (not shown). 

Fig. 8$2d shows the complete analysis executed in the regular double-cloth principle, ordin- 
ary weaving, one shuttle work ; thus only raisers or sinkers and no centre or " dwell," and hence 
8 warp-threads and 16 picks. Warp-threads 1, 2, 5 and 6 are for the body-warp and the warp- 
threads 3,4, 7 and 8 for the pile-warp. 

In Fig. 852^, a special plan illustrating the working of the pile-warps, as previously explained, 
is given, a and ■ show the interlacing in fabric 1 or^. h and n show the interlacing in fabric 
2 or B. 

Methods of Operation in Use for Producing Double-Pile Fabrics and the Different 
Systems of Cutting the Pile-Threads. 

As mentioned at the beginning of the present chapter on double-pile fabrics, both single- 
cloth fabrics after being woven on the double-cloth system must be separated, or the pile cut in 
the centre of the float from the one body-structure to the other. Two methods are in practical 






198 

use for cutting this pile. First, the pile-warp is cut automatically on the loom on which it is 
woven, and second, the pile-warp is cut after the fabric has left the loom. 
The first method is the one most generally adopted, and the illustrations 
■*" and explanations of some of the processes most frequently used are given. 

Fig. 853. Diagrams 853, 854, 855, 856, 857 and 858 illustrate C. R. Garratt's inven- 

tion as to the mechanism for cutting double-pile fabrics. 

Fig. 853 illustrates at fifths section of the double-pile fabric, at D the section of the cutting 
knife, liberating with it both separate pile-cloths as shown at N N. 

Fig. 854 illustrates a plan-view of part of a loom having the before-mentioned arrangement 
attached. 

Fig. 855 is a front elevation, with the bracket, which supports the operating shaft as well as 
this shaft and its driving-pulley and bevel-gear, removed. 

Fig. 856 is a plan-view of the knife, showing the manner in which the cords are attached. 
Fig. 857 is the side-view of a loom (of a different make than the one before) which has the 
cutting arrangement attached. 




^■■■m 




Fig. 854. 



Fig. 855. 



The letters used for indicating the different parts in these five diagrams are identical. An 
examination of the same gives us as follows : 

A illustrating the framework of a loom. 

B representing the mainshaft, journaled in the framework, and provided with a driving 
pulley. 

C is a cross-piece located at the front of the loom, provided with a groove extending across 
the loom, in which the knife D reciprocates. The main portion of the cutting-edge of this 
knife is straight, but the ends, or corners, are rounded, so that the knife will cut equally well 
when moving in either direction, while the straight cutting edge between the rounded corners is 
adapted for cutting the pile in a smooth and effectual manner through very short reciprocating 
movements of the knife. At the opposite ends of the knife cords are attached, which pass over 
pulleys F. One of these cords is attached to a spring G, 
which is secured to the floor. The other cord or wire is 
attached to a lever, which is pivoted in a bracket secured to 
the framework. This lever can be arranged to vibrate either Fig. 856. 

by means of a cam or crank. 

In the present illustration the first mentioned arrangement is used. The acting of the cam 
upon the lever H forces the latter outward, and consequently forces the knife to the extreme 
right of the groove against the power of the spring G. The action of the spring as it contracts 
is to draw the knife to the extreme left of the groove, and at the same time to draw the lever 
inward. 



199 



Fig. 853, as previously alluded to, illustrates at N the two separate single pile fabrics. In 
diagram Fig. 857, the method of " taking up " these fabrics without injuring the pile is shown. 
After drawing the fabrics over the edges of the " breastbeam " of the loom, they are guided over 
two " take-up rollers," X, opposite each other, which have a roughened surface, and by which the 
fabrics are held taught and drawn backward from the knife, so that the centres of the uncut pile 
will be evenly presented for the cutting. After passing the " take-up " rollers N, the fabrics fall 
into the cloth-box 5". 

This method of keeping the fabric loose, and not tightly wound around its " take-up " or 
cloth beam as in common weaving, preserves the beauty of the pile. The previously explained 
method of operating the cutting knife may also be changed so as to have it operated on by the 
lay. This principle is illustrated in diagram Fig. 858. In this, the one cord (formerly con- 
nected to a lever) is shown attached to the lathe of the loom. This lathe is operated in any 
ordinary manner, so that the knife will be reciprocated in its guiding-groove at each throw of the 
lathe. 






Fig. 857. 



Fig. 859 a. Fig. 859 b. 



Another kind of " cutting knife " is shown in Figs. 859^ and 859^. Fig. 859a illustrates 
the plan-view, and Fig. 859^ the section. In operating this " cutting knife " the long teeth 
enter between the two pieces of cloth while the lateral movement of the top blade cuts the 
pile-threads. In the diagram blade A, shown shaded, is the movable blade, and is situated upon 
B, the fixed blade which is shown in outline. 

Figs. 860, 861, 862, 863 and 864 illustrate a mechanism for severing double-pile fabrics in 
the loom in which it is woven, as invented by A. Bacon. 

Fig. 860 is the side-view of a loom necessary to illustrate the construction and mode of 
application of the attachment for severing the double-pile fabric produced on the loom. 

Fig. 861 is a front-view of the same loom and the cutting device, with the sharpener for the 
cutting knife removed. 

Fig. 862 is a plan-view of the same loom and the cutting device. 

Fig. 863 illustrates a perspective view of the cutting device ; the sharpening attachment for 
the knife is illustrated separately, in front, and detached from its supports, so as to give a clearer 
understanding of the main features of the device. 

Fig. 864 is a transverse section (enlarged) on the line 1, 2, in Fig. 862. 






200 



The letters indicating the different parts of the cutting device, as well as the loom, are 
identical. The following description will readily show the manner in which the cutting device 

is attached to the loom. Also the method of opera- 
tion of the former, with a general description of its 
construction. 

(This device, as claimed by the inventor, can 
also be adjusted to any other kind of loom with a 
few appropriate changes, such as may be required 
by the style of loom to be adjusted.) 

Parallel with the breastbeam of the loom (see 
A in drawings) and a short distance in front of it is 
a bar B, which is carried by projecting brackets X, 
and forms a guide for a slide D, the latter carrying 
a stud, on which is free to turn a spur-wheel a, to 
the upper face of which is secured a circular cutter 
F. This spur-wheel engages with a rack b, which 
is secured to the upper face of the guide-bar B, so 
that as the slide D is caused to reciprocate trans- 
versely in the guide a rapid rotary motion, first in 
one direction and then in the opposite direction, 
will be imparted to the cutting-disk F. One end 
of the slide D is connected to one end of a belt G, 
which passes around pulleys d, supported on the 
frame of the loom. The opposite end of this belt is 
connected to a stud/, projecting from one of the links of a chain-belt H, adapted to sprocket-wheels 
/.mounted upon studs g 2 , secured to and projecting from the loom-frame. A similar belt G, passing 





around like pulleys d, serves to connect the opposite end of the slide D to the stud f, so that 
when notary motion is imparted to the sprocket-wheels / the stud f, traveling with the belt H, 



201 

will, through the medium of the belts G, impart a transverse reciprocating movement to the slide 
D, and thus cause the cutter Fto pass to and fro through the web of fabric, so as to cut the pile- 
threads and separate the compound fabric into two single fabrics, each having a cut-pile surface. 
In order to insure uniform cutting of the pile, the movement of the slide and its cutter must 
be smooth and steady, as any jarring or jerking of the slide or cutter causes irregularity in the 




cut and unevenness in the length of pile on the fabrics produced. This smooth and steady move- 
ment is secured by means of the driving mechanism shown ; there is a gradual dimunition in the 
speed of the slide at and near each end of its traverse and a gradual acceleration of speed as it 
starts on the return movement. 

Rolls f J, between which projects the cutting edge of the knife F, are acted upon so as to 
press the rolls J J toward each other and into contact with the opposite sides of the knife. 




Fig. 863 






The rolls J are coated with abrading material, and extend throughout the traverse of 
the knife, so that the cutting-edge of the latter is at all times under the sharpening influence of 
the rolls, and a keen edge is thereby maintained. (This cutting device can also be used, applied 
to a machine for cutting double pile fabrics after the woven cloth has left the loom, instead of 
being used directly in connection with the loom in which the fabric is woven.) 



202 

Drawings Figs. 865, 866, 867, 868, 869, 870, 871, 872 and 873, represent C. Pearson's inven- 
tion for cutting on the loom double pile velvets and similar pile fabrics during the weaving 
process. 

The invention of the present system for separating the double pile fabric into two separate 
single pile fabrics, consists in employing two pile-severing knives, which are caused to travel 
laterally, each a distance only half the width of the fabric, in a transverse guide-plate or race. 

The letters of reference in the drawings denote like parts in the several views given. 




Fig. 865. 



Fig. 865 represents a side elevation of part of a loom for weaving double pile fabrics. The 
drawing also illustrates one of the " knife carriages " with its actuating mechanism, and part of 
the sharpening mechanism adjacent to it with a part of its actuating mechanism. Fig. 866 is a 
front view of part of the loom. Fig. 867 illustrates a transverse vertical section of the grooved 
race-bar; also one of the cutting-knives mounted in its carriage, and one set of the sharpening- 
rollers with its frame or " housing." 





Fig. 866. 



Fig. S67. 



Fig. 868 is, partly, a sectional front-view of a pair of the sharpening-rollers mounted in their 
frame with a portion of the velvet rail or cutting bar. 

Fig. 869 is a top-view of the transversely grooved guide-plate or race-bar in which the 
knife-carriages are reciprocated, and the parallel supporting-bar in which the fabric is cut by the 
laterally-traveling knives. 

Fig. 870 is an enlarged view of the parts at one end of Fig. 869, showing the transversely 
grooved race-bar, a knife-carriage with its knife, and the stopping mechanism in the race-bar. 






203 

Fig. 871 is a cross-section view of the velvet delivery rollers, one of the pile severing knives, 
and the supporting bars, showing the relative position of these several parts. 

Fig. 872 is a transverse section of the inside of that part of the loom shown in Fig. 865 from 
the outside. 

Fig- 873 is a transverse sectional view of the loom, showing the location and arrangement 
of the crank-shaft and connecting-gear, one of the pulley-wheels, and the sharpening mechanism 
with its actuating mechanism for one of the knives. 





Fig. S70. 

The method of operation and principle of construction of the cutting-device is illustrated by 
drawings Figs. 865 to 873 inclusive. 

By means of the double cam C, operating the rack-bar and cog-gearing, alternate partial 
revolutions in each direction are given to the pulley-wheel F, to which are secured two cords or 
bands, the other end of each of which is attached to the " knife-carriage," one cord on one side 
and one on the other side thereof, so as, by the alternate partial revolutions of the pulley-wheel in 





Fig. 871. 



Fig. 872. 



opposite directions, to pull the carriage backward and forward transversely along the grooved 
guide-plate or race of the loom. A similar set of cords and a knife-carriage are provided for 
each side of the loom, both knife-carriages moving in the same guide-plate alternately, each only 
about half the distance across, and each alternating in its lateral travel from side to centre of the 
race-plate. 

Transversely across the frame of the loom are arranged two bars or rails, R and S, their 
relative positions being as shown in Fig. 869, the former being merely a bar or rail supporting 



204 

the double pile fabric while it is being severed in two through the pile by the laterally-moving 
cutting-knives. Bar R is recessed near each of its ends (see Figs. 868 and 869) to admit of the 
insertion and support therein of the housings for the sharpening-rollers, and so that the upper and 
lower sharpening-rollers shall come alternately in contact with the upper and lower sides, res- 
pectively, of the knife-blade, as shown in Fig. 867. 

The bar 5 is a grooved transverse guide-plate recessed at each of its ends, to hold two sets 
of friction-rollers, over which the knife-actuating cords pass to the corresponding pulley-wheel F, 
and having one wide groove its entire length, serving as a race for the knife-carriages T T. At 
the bottom of this groove are two smaller parallel grooves, extending to the recesses at each end 
of the plate, and within which the knife-cords are moved. Two cross-bars, 1 and 2, are secured 
to the bar .S at each end, supporting a guide-rod, 6, having an enlarged inner end, which serves 
as a stopper for the knife-carriage, and upon the rod 6 are placed two pieces of india-rubber 
tubing, 4 and 5, and between them a metal band, 3, which may be slipped along the rod against 





Fig. 873. 



Fig. 874. 



the tubing and fastened tight at any point thereon by a set-screw. By this arrangement the 
rubber tubing acts as an elastic cushion for the stopper-rod and in turn for the knife-carriage. 
The movable metal band also permits of lateral adjustment of the stopper-rod, thereby producing 
a variation in the resistance encountered by the knife-carriage. This mechanism is shown in 
detail in Figs. 869 and 870, the latter showing only one end of the bar S, the other end containing 
similar mechanism for the other knife-carriage. 

The knife K, to cut the connecting pile latterly between the two backings, is secured in a 
holder, K' , mounted in a carriage, T, moving laterally in the large groove of the race-bar 5 
backward and forward half the length of the bar, from about its centre to its either end, by means 
of the pulley and cords before mentioned. The end of the knife-holder K' swings upon a cross- 
bar, passing through it and having its bearings in the carriage T. A spring is coiled around this 
cross-bar on either side, with its ends fastened to the carriage, so that the tendency is to press the 
knife-blade down upon the supporting-bar R, or upon the velvet resting thereon, and cause the 
knife to travel in its reciprocating motion in a straight line and cut the pile evenly. 



205 

Each knife-carriage is provided with two pulley-cords — fastened one at each end thereof, one 
cord passing from the right-hand carriage over the friction roller at that end of the bar 5 to and 
partially around the pulley-wheel F in one direction, and has its end knotted in the periphery 
thereof. The other cord, fastened to the other end of the knife-carriage, passes along one of the 
small grooves in the bar .S to the other or left-hand end thereof, where it passes over a similar 
friction-roller and back under the bar 5 to another friction-roller, 7, and thence to and partially 
around the pulley-wheel F, (in an opposite direction from the other cord) to which it is fastened. 
A like set of cords are arranged for the other or left-hand knife-carriage. This arrangement 
causes the knife-carriages to be moved backward and forward in the carriage-race when and as 
the pulley-wheels wind up either cord successively ; the wheels being turned by means of the 
mechanism operated by the cam C. 

Upper and lower velvet-rollers L'L' , Fig. 871, suitably mounted in the frame of the loom, take 
up the two pieces of pile fabric cut apart through the connecting pile by the laterally- reciprocating 
knives K, and draw forward the uncut double pile fabric to the traveling knives as it is deliv- 
ered over and upon the velvet-rail or cutting-bar R. These rollers L'L' are geared together and 
actuated by a worm, to which motion is communicated from the picking shaft, or any other suit- 
able actuating mechanism. 

Machine for Cutting Double Pile Fabrics After Leaving the Loom. 

As previously mentioned in the chapter on double pile fabrics, in some instances the separat- 
ing of both pile cloths is not done in the loom during the process of weaving, but a separate 
machine is necessary for cutting the fabric afterwards. In using such a cutting device for separa- 
ting both cloths the former must produce a suitable feeding and tension upon the fabric during 
the operation so as to divide the pile-threads midway between the two "body-structures" (backs). 
As the length of pile in any such fabric is not always uniform, it is difficult to maintain the 
cutting line midway between the webs, and in order to avoid the risk of cutting into the fabrics at 
places where the weaving is irregular it is necessary to use a longer pile than would otherwise 
be required, thus consuming more material than is needed for the finished fabric, and also requir- 
ing the divided fabric to be "shorn" (afterward) to a greater extent than would otherwise be 
necessary. 

An invention, lately patented by J. A. Campbell of Philadelphia, is designed to obviate these 
difficulties by making the straining-bars, over which the newly-divided fabrics are drawn, self- 
adjusting and self-centering, so that, whether the original double pile fabric be thick or thin, the 
dividing-line shall always be midway between the two fabrics. 

Diagram Fig. 874 is a side-view of that portion of a machine which has this improvement 
attached. 

The method of operation is made fully comprehensible by the following explanations given 
with reference to the letters used in the diagram. 

At // is shown the double pile fabric passing in between the plates B' B 2 , and at g is shown 
a section of the dividing-knife, while at i and k are shown the divided fabrics passing off! 

The operation of the device is as follows : The uncut fabric, being drawn in at h by the 
action of any suitable feeding mechanism, passes between the plates or jaws B' B 2 , and is 
divided by the knife g, after which the divided fabrics pass off at i and k, being drawn taut by 
suitable winding mechanism. The springs c c, being adjusted to a proper tension by the thumb- 
nuts dd, tend to draw the jaws or plates B' B 2 together, and so the fabric which is being divided 
is held firmly between the said jaws B' B 2 during the operation of cutting. The divided fabrics 
i and k, being drawn taut, tend to draw the jaws B' B 2 apart ; but this tendency is resisted by the 
springs c c. As the toothed segments C C 2 are firmly fastened to the jaws B' B 2 , it follows 



206 

that any motion of the jaw B' will be communicated to the toothed segment C , and from thence 
through the toothed segment C 2 to the jaw B 2 , and so any motion of the jaw B', to or from the 
cutting-line, will be accompanied by a corresponding motion of the jaw B 2 . If, from any irregu- 
larity in weaving, the two fabrics of the double pile fabrics are closer together or farther apart at 
various points than the normal distance, the jaws B'B 2 will press together or be forced apart, but 
always to an equal extent, and hence the two webs will always be kept at an equal distance from 
the cutting-line, no matter how irregular their distance from each other may be. 

Weaving Two, Three or more Narrow Widths or Pieces of Double Pile Fabrics at once. 

The weaving of two or more narrow widths of double pile fabrics, side by side, in a broad 
loom, also requires the production of fast selvages for each special narrow width. For this pur- 
pose we must form two adjacent selvages with fast edges at any desired part of the width, both of 
the upper and lower cloths of the double pile fabric, as also selvages in the upper cloth imme- 
diately above the selvages in the lower cloth. To form a fast edge to each inner selvage, a warp 
binding-thread to cross with the outermost warp of the selvage and becoming knit together 
therewith must be employed. Any desired number of fast inner selvages may be formed in this 
way in the width, so that the fabric may be divided into widths of any required size by cutting 




Fig. 877. 



both the upper and lower cloths lengthwise between the pairs of fast selvage edges, which have 
been made in these cloths. 

The construction of such " fast " selvages, properly belonging to the division on gauze or 
cross-weaving, will be explained later on. 

Diagram Fig. 875 illustrates a perspective view of a short length of a double pile fabric 
woven face to face, with fast inner selvages. 

Diagram Fig. 876 shows a perspective view of one-half of this fabric when the pile has been 
severed and the upper cloth separated from the lower cloth. 

Diagram Fig. 877 shows two separated pieces, obtained by dividing the fabric shown at 
diagram 876 longitudinally between the fast selvages which are formed in it. In these diagrams U 
is the upper cloth, L is the lower and P is the pile. 

The two parallel lines 5 .S, which run lengthwise of each cloth, represent the fast edges of the 
inner selvages. 

Let-off Mechanism for the Pile Warp for Weaving Double Pile Fabrics. 

In double velvet weaving there is one great difficulty to contend with, namely, to keep the 
two pieces of cloth an equal distance apart. To do this a regular supplying, guiding and deliver- 
ing of pile-warp is required, otherwise any additional strains would draw the two pieces nearer 
together, and the pile would be irregular. 



207 

Diagrams Figs. 878a, 878^ and 879 illustrate the arrangement for effecting the letting-off, 
supporting, guiding and delivering of the pile-warp, and represent C. Pearson's Patent. 

Fig. 878a illustrates a side elevation of that part of a loom containing the necessary 
mechanism as mentioned. 

Fig. 878^ is a detached view of some of the parts and taken from Fig. 878a. 

Fig. 879 is a diagram showing the arrangement and position of the several rollers and parts 
constituting this mechanism. 

The letters indicating the different parts in this mechanism are as follows : A represents the 
frame of a loom. G and H are the beams containing the pile-warp. The latter threads are 
delivered from these to a guide-roller R, secured in the frame of the loom, and thence to a pair of 
metal rollers, C C, turned perfectly true and covered with cloth, plush, or other like rough-surface 
material, in order to create friction between the surface of the roller and the warp-threads. These 
rollers are mounted upon shafts having bearings in a bracket bolted to the frame of the loom. 
They are independently rotated toward each other with unvarying uniformity and precision by 
means of worm-wheels d d on the axes thereof, which engage with two screws, F F, one for each 





Fig. 87S6. 




Fig. 878a. 



Fig. 879. 



roller, one being a left-hand screw and the other a right-hand screw, on a horizontal shaft, E, 
which has its bearings in brackets XX, also secured to the side of the frame A. One end of 
this shaft E is provided with a beveled gear-wheel, which engages with a similar beveled gear-wheel 
on the end of the picking«shaft D, and is thus continuously driven. The other end of shaft E bears 
against a rod, L, in the bracket X, provided with jam-nuts, in order thereby to secure desired 
pressure against the shaft and its actuating-wheel, more especially when actuated by friction as a 
substitute for the gear-wheels shown. The pile warp-threads are delivered directly from the guide- 
roller R to one of the metal rollers C, and under and around the same, and from thence in like 
manner under and around the other roller, C, these rollers rotating toward each other, and from 
the last-mentioned roller C the pile-warp is carried to a second guide-roller, S, supported horizon- 
tally in the frame A, and is from thence taken up by vertical rods Y, held up by pull-springs W, 
to support the warp in its passage to the heddles, and to create the necessary tension thereon to 
hold the same taut. 

Carrying the pile warp-threads to a point over the main rollers C the loose waste driven off 
by the operation will drop onto the warp after passing the second roller, C, injuring the pile-warp 
and clogging the mechanism. To prevent this, a shield, T, is arranged over the second roller, C, 



208 

consisting of a flat tin or other suitable plate extending from side to side of the loom and secured 
to its frame. 

Another arrangement for delivering the pile warp in looms for weaving double pile fabrics has 
been lately invented by Mr. Fred. Pearson. This invention consists of a mechanism for the proper 
feeding of the pile warp into the harness, and is placed in such a position in the loom as to pre- 
vent any fibres or other substances, which may be freed from the warp yarn as it passes over the 
mechanism (friction rollers), from falling into the latter, and thus injuring the warp-yarn as well as 
clogging the mechanism. Another advantage Mr. Pearson assigns to his invention is the means 
provided by which this feeding mechanism can be easily thrown out of action, so as to allow 
the weaving of the ordinary close-stitched double-cloth required for the weaving of a proper 
heading at the beginning and ending of each cut. The mechanism is also arranged to permit a 
quick and correct changing of the amount of pile warp to be delivered, as regulated by the height 
of pile required for the fabrics woven, by substituting a smaller or larger worm-wheel upon the 
axle of the main roll. 

Diagrams Figs. 880 and 881 illustrate this mechanism. 

Fig. 880 is a side elevation of the rear part of a loom or attachment to a common cam- 
loom, and embodying Mr. Pearson's invention. 

Fig. 881 is a sectional elevation, showing the delivering of pile warps (from two beams) and 





Fig. 



the direction of the running off of the ground warps (from one beam). The respective parts with 
the letters of references given (the same for both Figs.) will in a great measure explain the 
modus operandi. 

A represents the beam for the ground-warps; B and C, the beams for the pile warps ; E and 
H, the guide-rollers; Fand G, the main or friction-rollers, whose axes are mounted in open 
bearings in an adjustable bracket N, attached to and mounted upon the main frame of the loom. 

The axis of the lower friction-roller is provided at one end with a worm-wheel which gears 
into a worm P on one end of a horizontal shaft, which is driven by gear wheels R and 5. Upon 
the opposite ends of the axes of the friction-rolls are mounted gear wheels V X, which gear into 
each other. J represents the harness frames. 

An examination of Fig. 881, with regard to the direction of running the pile warps and 
ground warps of the fabric, gives us as follows : 

The pile warp-threads, upon the beams B and C, are, together, carried over the guide roll E, 
under and around the main roll F, and around the main roll G, under the guide roll H, and over 
the horizontal yielding, or spring-supported rods / contained in the vertical guides K, and are 
thence run to the heddles. The ground warp-threads upon beam A are carried over supporting 
or guide-rollers a b to the harness-frames. 

At the beginning of the description of this invention we mentioned that a part of the claim 
was based upon allowing a quick changing from pile weaving to a weaving of regular close- 



209 

stitched double-cloth used as headings for the fabrics. This is accomplished by shifting lever T 
to the right (*". e., towards the rear of the loom), thus elevating friction-roller F and its worm- 
wheel, carrying the latter out of contact or gear with the worm P, whereby the revolution of the 
main rollers /'"and G will be discontinued and the feeding of pile warp-threads to the heddles 
will be stopped. 

Another method for arranging the beams for pile warps and ground warps in the loom in 
weaving double plush is that used by Mr. R. H. Patton. In looms of his construction the beam 
carrying the ground warp is situated in the rear part of the frame, as built in addition to his 
regular cam loom for operating the harness. The beams carrying the pile warps rest in the 
upper middle part of said frame. To give a clearer understanding diagram Fig. 882 has been 
designed. In this A indicates the side of the frame previously alluded to, B the beam carrying 
the ground warp, and C and D the beams for both sets of pile warps. In the present style of 
arranging the beams for the pile warp and guiding those warps in their run to the delivering 




Fig. 882. 



rollers H G, and from there to the respective harness, one great advantage over that of the pre- 
viously shown methods will be readily noticed, i. e., that the pile warps are delivered to their 
respective heddles without crossing the ground system, and consequently any possible chafing is 
avoided. The ground warp for the upper cloth in the loom passes from the warp beam B over 
stationary guide-roller E towards the harness frames; this set of threads being indicated by letter 
a. The other set of ground warps required for the lower cloth passes from beam B below guide 
roll F and from there direct to the respective harness frames. This set of ground or body warp 
has been indicated by the letter d. The two sets of pile warp, one from beam C and one from 
beam Z>, are guided from their respective beams into the delivering rollers G and H. The lower 
roller (H) is covered with a fine sand-paper, while the one above is covered with a plush fabric. 
After leaving the delivering rollers one set of the pile threads is passed over guide-roll J and 
below guide-roller L, and the other set below guide-roller K. Each of these two guide-rollers is 
adjusted to a lever which is on one extreme end connected with the loom frame and on the oppo- 
site end nas adjusted a spring which is fastened to the floor. These springs will greatly assist in 



210 

easing up the "beating home" of the pile warp. The let-off of the pile warp is regulated by 
sproked gears adjustable to the axis of the delivering roller H and gets the motion from the 
"take-up" by means of a chain belt. The present method of delivering pile warps allows the 
harness in the front part of the loom to be arranged for an extremely high pile, i. e., the keeping 
of the two sets of ground warp — ground cloth — as far apart as possible. 

The bracket for holding guide-roller F can also be applied to the centre standard of 
the frame. 

Double Pile Fabrics Made with a Proportionally Higher Pile. 

In some double pile fabrics a greater length of pile may be required than the one which can 
be produced on a common loom. To overcome this difficulty James, Fred, and George Priestley 
have lately invented an improvement on the lay, suitable to be adopted for any loom. To secure a 
proportionally higher pile their patent advises the cutting away of a large portion of the solid part of 
the lay and inserting small steel plates set upon edge. Each plate reaches across the cut-out part 
of the lay, and the tops of ail the steel plates are in a line and carry the shuttle when in operation. 
The warp-threads of the bottom fabric drop into the spaces between the steel plates and are well 
out of the way of the shuttle when the top or upper fabric is being woven, and at the same time 
the pile-threads are kept tight and at full stretch between the two fabrics. 




Fig. 883a. 



• fliinii rfm nil 111111111 



Fig. 8S3*. 



Fig. 883c. 



Diagram Fig. 883^ illustrates the sectional side-elevation of a portion of the lay of a common 
loom which is fitted up with such steel plates. 

Fig. 883^ represents an elevation of the latter, and Fig. 883c illustrates a plan of a portion of 
the same. 

Figured Double Pile Fabrics. 

Double pile fabrics are also produced by means of the Jacquard machine. Various methods 
of operation as well as different makes of looms exist for effecting this process. 

Diagrams Figs. 884 to 891 illustrate a specimen of such a loom and the method of 
operation for weaving figured double pile fabrics, which was invented and patented by T. J. 
Shuttleworth. 

The said diagrams illustrate a loom for weaving figured double pile fabrics for operating the 
pile-threads whereby on the rise of the Jacquard lifter-board any desired pile-thread may be drawn 
down from the upper warp into the lower fabric or drawn up from the lower warp into the upper 
fabric, so as to produce two fabrics having a corresponding figure. 

In diagrams Figs. 884, 885 and 886 the method of interlacing the two fabrics is clearly 
demonstrated. 

Fig. 887 represents a loom showing sufficient to give one a proper understanding. 



211 

Figs. 888 and 889 are diagrams illustrating the operation of the heddles controlling the 
ground warp-threads. 

Figs. 890 and 891 illustrate the operation of the heddles controlling the pile warp-threads. 
Each of the fabrics has a number of pile-warps (indicated x) and two sets of ground backing threads 
(see y), the number of pile-warps depending upon the number of colors in the pattern to be 
produced. 

The operation of weaving the fabric will be understood upon reference to Figs. 884, 885 and 
886. In Fig. 884 the threads are represented as they appear after the figuring pile-warps have 
been drawn from the upper to the lower and the lower to the upper fabric and bound in by picks 1, 
all of the upper pile-warps being then elevated and the lower pile-warps depressed and the ground 
or backing warps of each fabric crossed, so as to form upper and lower sheds for the insertion of 





Fig. 885. 





Fig. 887. 



the binder picks 2, which are thrown in and beaten up and the ground-warps of each fabric then 
again crossed, as shown in Fig. 885, to form sheds for the binder picks 3, and after throwing in 
these picks the ground-warps of each fabric are again crossed to form upper and lower sheds, all 
of the upper pile-warps except those for the figure being lowered to the level of the bottom of the 
upper shed, and all of the lower pile-warps except those for the figure being raised to the level of 
the top of the lower shed, as shown in Fig. 886. 

Such of the upper pile-warps as are necessary to form the figure are drawn down into the 
lower shed; and such of the lower pile-warps as the figure demands are lifted into the upper shed, 
as shown in Fig. 886, preparatory to throwing in the binder picks which confine said figuring 
pile-threads on the backs of the fabric ; the operations being then repeated. As shown in the 
drawings, accompanying these explanations, such of the pile-warps as are necessary to form the 



212" 

figures are drawn across from one fabric to the other on every third pick ; but, if desired, only 
one binder pick may be put in on the face of the fabric between successive tufts of the pile. The 
mechanism for effecting the movements of the threads which we described, is shown in Fig. 887. 
The heddles which control the ground warp threads have double eyes, as shown in Figs. 888 and 
889. The threads of the upper fabric pass through the upper eyes of the heddles, and the 
threads of the lower fabric through the lower eyes, these eyes being so related and the lift of the 
heddles being such as to effect the proper formation of the upper and lower sheds. Each of the 
pile-warps is controlled by a harness thread connected to one of the needles of the Jacquard, 
(see Figs. 890 and 891) and passing through the usual notched eye in the lifter board, above the 
Jacquard needles, each harness-thread having a knot above the lifter-board, so that when the 
thread is adjusted by the needle to bring this knot over a notch of the board, this knot and that 




Fig. 888. Fig. 





Fig. 891. 



portion of the thread in which it is formed will be lifted by the board as it rises, there being no 
lift of those threads the knots of which remain in line with the eyes of the lifter-board. 

The movement of the entire body of warps, except those necessary to form the figure, is 
effected by comber-boards g and h, Figs. 890 and 891, the upper of which, in the present instance, 
acts upon knots upon the harness-threads of the pile-warps of the lower fabric, while the lower 
board acts upon knots upon the harness-threads of the pile-warps of the upper fabric, and these 
boards are caused to move toward and apart from each other, so that on the rise of the upper 
board, g, all of the pile-warps of the lower fabric, except the figure-warps, will be lifted from the 
position shown in Figs. 884 and 885 to that shown in Fig. 886, the descent of the lower board, h, 
causing the corresponding pile-warps of the upper fabric to drop to the same extent. The 
comber-boards remain separated while the binding-shots 1 are being thrown in, after which they 
are drawn together, so as to restore the warps under their control to the positions shown in Figs, 
884 and 885. 

Such of the pile- warps as are desired to form the figure are by means of the Jacquard brought 



213 

under control of the lifter-board, which has a movement in excess of that imparted to the comber- 
boards, so that the figuring pile-warps will be carried up or down into the opposite fabric. 

The figuring-threads of the lower pile-warp are simply elevated by the action of the lifter- 
board as the latter rises in the usual manner; but it is necessary to transform this rising move- 
ment of the lifter-board into a downward movement of the figuring-threads of the upper pile- 
warp; hence each of the harness-threads of the upper pile-warps must be passed around a pulley 
or other bearing so as to double it back upon itself, pass it again through the eye of the lifter- 
board, and connect it at the lower end to a strip m, Figs. 890 and 891, of rubber or other elastic 
material, secured to the guide-board n below the Jacquard apparatus. The lifter-board acts upon 
a knot on this returned portion of the harness-thread, so that the lift of the board serves to stretch 
the spring and permit the drop of the weighted portion of the harness-thread which controls the 



w V, \J 



3 



^ 
a 



M. 



IA.1B. ZA. Zl. 3A. 3B. HA. HB. 5A-5B. 6A.6B. 7A.1B. &A. 

Fig. 892. 



warp-thread, this warp-thread being lifted on the descent of the board by reason of the contraction 
of the spring in, which exerts a force considerably in excess of the weight. 

The lifter-board of the Jacquard is operated by a cam on a shaft, the cam acting on a slide 
which is connected by a rod to a lever connected to the lifter-board by a rod. 

The comber-boards are operated by another cam on the shaft mentioned before, this cam 
acting on a slide which is connected by a rod to a lever, and by another rod to an arm; the lever 
before mentioned being connected by a rod to the upper comber-board, and the arm also previ- 
ously mentioned is connected by a rod to the lower comber-board, so that the desired movements 
of both comber-boards towards and from each other are effected. 

The principle thus far explained of weaving these double pile fabrics can also be used in 
connection with a Jacquard apparatus in which griffe-bars are used in place of an eyed and notched 
lifter-board, and hooks are used instead of knots in the harness. 



214 

Figured Double Plush Produced upon a Jacquard Machine Containing a Stationary and a 
Raising "Griffe" and also a Lowering {Falling) "Grate" or " Resler." 

Mr. T. Halton has lately applied for a patent for a Jacquard machine for weaving "figured 
double pile fabrics" which is very simple and effective in its method of construction. This 
machine resembles to a certain extent a double-lift double-cylinder Jacquard machine used in 
weaving damasks, dress-goods, etc. This new Jacquard machine has also two sets of griffe-bars 
(similar to the double-lift double-cylinder), but only one set raises while the other remains 






TfF 



Fig. 893^. 



Fig. 893.5. 



Fig. 893 C. 



stationary. The " grate " or " rester " for the hooks in the new machine is arranged to lower 
simultaneously when the previously mentioned griffe raises, and again raises to its starting-point 
as soon as the griffe lowers to its point of starting. The cylinders of the Jacquard machine for 
weaving figured double pile fabrics are operated on at the same time, while the cylinders of the 
Jacquard machine, known as " double-lift double-cylinders," are operated on alternately. 

To give a clearer illustration of the construction of the machine, Fig. 892 has been designed. 
It represents the section of a four-hundred Jacquard machine for weaving figured double pile 
fabrics. 



215 





At the point indicated by A, one vertical row of one set of needles is shown (E = needle 
board, D = spring box). At B one vertical row of the second set of needles is shown (C = 
needle board, F = spring box). 

a represents sections of stationary griffe-bars (shown shaded) ; b represents sections of 
raising griffe-bars (shown in black) ; //represents sections of the grate or rester (for holding the 
hooks in the required position and also for guiding the latter in their lowering, if not called for by 
either one of the griffe-bars). 

Hooks i A and i B have their neck-cords connected to the same leash. (Also 2 A and 2 B; 
3 A and 3 B ; 4 A and 4 B, etc.) 

Figs. 893 A, B, C, D and E illustrate 
the modus operandi of the machine and its 
harness. Two hooks, operating the same 
warp-threads, are used for illustrating the 
principle. Letters of reference indicate 
like parts in each diagram. 

g-l and li-m are the previously men- 
tioned two hooks ; e—f the needle for oper- 
ating the hook g-l; c-d the needle for 
operating the hook li-m ; a is the station- 
ary griffe-bar ; b is the raising griffe-bar; 
l-n and m-n are the neck-cords ; / is the 
heddle eye ; r and s the double shed re- 
quired ; q the lingo, and o the last woven 
part of the fabric. 

Diagram Fig. 893/? shows the hooks 
at rest; or in a position similar to that in 
Fig. 892 (the complete section of a 400- 
machine) ; thus the warps will rest in the 
loom in the position shown by the fall 
line o-p-t, or in the centre. 

Diagrams Fig. 893 B and C illustrate 
the raising of a warp-thread in the upper 
section of the top shed (r). (See full line 
o-p-l) In diagram 893/? this is accom- 
plished by punching a hole in the cards 
for needle c, and none in the other card at 
the place where needle e strikes. Conse- 
quently hook h-m, not operated on by its 
needle (hole in card), will be caught by 
the ascending griffe b, and in turn raise 
the warp-threads by means of the harness 
cord in the upper section of the top shed (r). (See full line o-p-t.) The hook g-l, which is 
thrown backwards by reason of its mate needle e having no hole cut in the card, is thus placed 
out of reach of the stationary griffe-bar and descends with the lowering of the rester i until it 
reaches the base, as shown in the present diagram. This, consequently, will have no effect upon 
the warp-thread, and nothing else will be produced but the slackening of the corresponding 
neckcord l-n, as represented in the diagram. 

In diagram Fig. 893 C the same effect (as in Fig. 893/?) for the warp-thread (or its raising into 
the upper section of the top shed is produced by having two holes cut for both needles (for needle e 



Fig. 893/?. 



Fig. 893^". 






216 

in the card of the other set). Cutting a hole for needle e will leave hook g-l in its vertical posi- 
tion and the crook of the hook will be caught by the stationary griffe, which will hold it during 
the downward movement of the rester. The movement of hook h-m and its result upon the 
corresponding warp-threads being the same as in the previously explained diagram, the only 
difference between adopting either plan B or C, is the lesser amount of slackening of the neck- 
cord l-n which is out of action in using the plan as illustrated by diagram C. 

Diagram 893Z) shows the warp-thread in the lower section of the bottom shed s. (See full 
line o-p-t) This movement is accomplished by cutting no hole for either needle in its correspond- 
ing place in the card, consequently throwing off each hook from either griffe, which will result 
in the lowering of both hooks by means of rester bars i and k. 

Diagram Fig. 893/; shows the method of operation necessaiy if a warp-thread is required 
to remain in the centre, thus forming the bottom of the upper shed r and the top of the lower shed s. 
In this case no hole must be cut in the card for needle c, and a hole in the card from the other set 
for needle e to penetrate. Hook g-l will thus remain over the stationary griffe-bar (a) while the 
mate hook h-m has its crook thrown out of reach of the raising griffe b, and consequently descends 
with the lowering of the rester. 

TERRY PILE FABRICS 

In which the Pile is Produced During Weaving Without the Aid of Wires. 

Pile fabrics in which the pile-threads are raised without the aid of wires are fabrics known as 
"Turkish toweling" and certain kinds of scarfs used for ornamentation on chairs, bureaus, etc. 
In the manufacture of these fabrics two (or more) warp-beams are required — one to carry the 
"pile- warp" for the formation of the loop and the other to carry the "ground-warp" for forming 
the body of the fabric. 

Method of Operation for Producing the "Loop" or "Terry" Pile. 

In the process of weaving a terry fabric the upper or terry series of warps is weighted lighter 
than the lower or body series, for the purpose of allowing the loops to be formed on the surface 
by the lay swinging or being driven fully up to the body already manufactured after several or 
one or two picks of the filling have been shot from the shuttle and but partially beaten up, those 
picks having in the meantime so tightened upon the upper or "terry" warps that the latter are 
forced with them by the full beat fully up, and thereby forming the pile loops or terry. 




Fig. 894a. 

The three (or more) picks so interwoven will have slid on the ground-warp, which remains 
tight during the entire process of weaving. 

To illustrate the method of operation more clearly Figs. 894a and 894^ have been designed. 

In Fig. 894a the pick, indicated by 0, represents the edge of the cloth. At the first stroke of 
the lay the first pick, 1, is not driven home. At the second stroke the second pick, 2, is driven 
against the first pick, 1, and no further; but the third pick, 3, is driven home towards 0. This 
pick will in turn naturally take picks 1 and 2 along, pressing them up against the finished edge 
of the cloth (0). 

The pile or "terry" warp will thus form the loops s, as shown in Fig. 



217 



F'g- 895 « illustrates the drawing-in draft for the regular terry cloth. Harness 1 and 2 are 
for the pile, harness 3 and 4 for the ground-warp. Fig. 895^ represents the weave or harness- 
chain for the above illustrated drawing-in draft. 

To give a more perfect understanding of the method of operation in the present style of terry 
weaving, Figs. 896, 897 and 898 are designed, illustrating the operation of a terry loom patented 
by Messrs. Holt & Mellor. 

Fig. 896 is a cross-sectional elevation of part of a terry loom necessary for properly illus- 
trating the explanations to follow. 

Fig. 897 is a plan-view of the same. 



1U|. 



Fig. 895s. 



1*1 v. 
Fig. S955. 



Fig. 898 is an enlarged cross-sectional view of the upper part of the lay and the breastbeam. 

The operation is as follows : When the cam D (see Fig. 897) does not raise the lever E, the 
frame remains lowered, as do also the arms L, and when the lay swings toward the breastbeam 
the outer ends of the arms L come in contact with the inner ends of the screws N (see Figs. 896 
and 897), whereby the arms L will be pushed in the inverse direction of the movement of the 
lay — that is, in the direction of the arrow b' — thereby swinging backward the reed and pre- 
venting it from driving the last pick home — that is, preventing the reed from driving the last 
pick against the finished edge of the cloth; but if the cam D raises the lever E the frame F will 
be moved upward and the arms L will be raised so that their shoulders engage with the face of 









Fig. S98. 



Fig. 896. 



Fig. 897. 



the lay, and the free ends of the arms L will be raised to such an extent that they will pass over 
the beveled ends of the screws N, and the bary, or lower part of the reed, will not be pressed in 
the direction of the arrow b' , thus permitting the reed to drive the last pick home, as represented 
in diagram Fig. 898. 

The loom can also be so constructed as to drive the second, third, fourth, fifth or sixth pick 
home, as may be desired, and according to the number of loops desired in the fabric. The length 
of the loops is adjusted by means of the screws N, for the farther the screws project from the 
breastbeam the greater will be the distance that the bar_/ is swung back, and thus the greater 
will be the distance between the finished edge of the cloth and the first pick. 






218 

Diagrams Figs. 899, 900, 901 and 902 illustrate the principle of construction and the opera- 
tion of a loom for weaving terry fabrics patented by N. A. Woodhead. 

Fig. 899 is an end or cross-sectional elevation of the loom with the movable journal-boxes 
and crank-shaft thrown fully back, as when partially beating up the filling. 

Fig. 900 is a cross-sectional elevation of it without the gear-wheels, showing the journal- 
boxes and crank-shaft thrown forward and the lay forced fully up. 

Fig. 901 is a top view. Fig. 902 is a detail view showing one of the journal boxes and part 
of its supporting lever, its adjusting screw, and the device for locking the lever and box in a 





Fig, S99. 



Fig. 900. 



forward position for the production of a plain fabric. (Letters indicating the different parts for 
reference are selected to correspond in all four diagrams.) 

The method of operation of the loom thus forming the terry pile is as follows : 
The crank-shaft A when revolving drives to and fro the lay H by means of the rods a, com- 
municating with the cranks b b, and thus drives the picks partially up at each revolution, when it 
is thrown back, as illustrated in Fig. 899. In order, however, to produce the terry loop the 
entire shaft A is, after two picks, thrown forward to a point where, when the cranks b arrive on a 
horizontal plane toward the lay H, the lay will be caused to make a full beat, driving the picks 
full up, and producing the terry or pile loop. 





Fig. 901. 



The shaft A, when it is desired that the loop shall be formed at every third pick, is arranged 
to revolve by a proper adjustment of the gearing three times while the cam shaft N revolves 
once. When the cams h of the cam-shaft N are in any position other than an upright position, 
the lower arm E' is at rest, being borne down and held in that position by the weight e. As a 
natural consequence, by reason of the pivotal bearing at g, the knee of the arms E E' is thrown 
forward, while the journal boxes F of the shaft A, being firmly fixed to the arms E E , are thrown 
back, and the shaft A, while revolving in this position, produces by means of the lay but a partial 
beat of the picks, one throw of the shuttle being made to each revolution of the shaft A. When, 



219 

however, the cams h of the cam-shaft N, by the revolution of the shaft, begin to assume an 
upright position, pressing against the lower edge of the arms E' as shown in the drawings, the 
arms £' are gradually raised until they assume a horizontal position and thereby, by reason of the 
pivotal bearing g, throw the boxes F, adjusted to the extreme upper ends of the arms E and 
containing the crank-shaft A, completely forward. Then the shaft, revolving to the proper point, 
produces a full beat of the lay and makes in the fabric the terry or pile loop at the desired 
interval. 

The length of the terry-loop is regulated by means of the screw /, adjusted to the journal 
boxes F. By screwing down the screw the terry-loop is shortened by the shaft A being 
prevented from going as far back as it otherwise would by reason of the lower end of the 
screw coming in contact with the loom-frame, consequently allowing the short beats of the picks 
to be driven more nearly full up. When the screw / is screwed up, the arms E fall fully down 
when released from the cam // and throw the shaft A full back, and this produces an extremely 
long terry-loop. By this means a terry-loop of any desired length can be produced. 

When it is desired to throw the terry devices out of operation and to weave a plain fabric, 
the lever S, connecting with the lug t, as shown in Fig. 902, is depressed, the lug t thereby 
engaging the movable journal-box F, and, preventing the backward motion, holds it firmly in 
position and allows of the lay //beating full up at every revolution of the shaft A. 






Fig. 903. 



Fig. 904. 



Fig. 905. 






Some " terry " fabrics require a combination of the terry pile weaving and the common plain 
weaving ; both systems of weaving to exchange alternately (and sometimes more frequently) in 
one length of the fabric. For such fabrics the loom illustrated in diagrams Figs. 903, 904 and 
905 (as is claimed by its inventor, C. Strobel), is of special advantage. 

Figs. 903 and 904 represent vertical sections of the loom ; the parts being shown in different 
positions. 

Fig. 905 represents a vertical section of the loom in line x x Fig. 903. The shedding, 
picking and take up motions are substantially the same as are ordinarily used in looms. (The 
letters of reference in all these drawings are identical.) 

The crank and cam shafts A 0' are geared by gear-wheels, each mounted on shafts and 
meshing together, and are driven in the usual way. While the rollers M are in the bottoms of 
the slots in the links or levers C the lay will travel forward to a fixed line, this being the cloth 
making line of the fabric. The roller J on the gear / at each revolution of the latter, if the 
lever H is not engaged by the hook N, presses down the rear end of the lever H, causing the 
forward end to rise, and through the rod G and the arm F to rock the shaft D until the rollers 
M reach the bottoms of the slots of the links C. The spring P, connected with the arm F on 
the rock-shaft D, keeps the rollers Mm the upper part of the slots of the links Cwhen the lever 
His free from the hook ./Vand is not acted on by the roller/. When the rollers are in this 
elevated position, the lay will not travel as far forward as the cloth-forming line, owing to the 
pivots of the pitmen B having been given a lateral movement toward the lay, thus shortening the 



220 



distance between the crank-shaft and the lay. It will be understood that during these short 
movements of the lay the filling will be only partially beaten up. The number of short or partial 
beats to each full beat may be varied by changing the gears I or 0. The present illustrations 
show the loom arranged so as to have two short strokes to each long or full stroke or beat. At 
each third pick the lever H will be depressed by the roller J on the gear /, causing it to bring 
the arms E on the shaft D to a horizontal position, thus giving the pivots of the pitmen B a 
movement away from the lay, and increasing the distance between the crank-shaft and the lay. 
By this means the lay in its next forward movement will be moved forward to the cloth-making 
line, beating home the previously inserted two picks and causing the terry warp-threads to be 
looped or raised from the body of the cloth. The screws K, passing through the side projections 
of links C, act as stops for the roller-supporting levers E, limiting their upward movement, thus 
regulating the length of the terry-loops, making them longer or shorter, as desired. The arms F 
may be given more or less movement by shifting the pivots or screws, by which the connecting- 
rod G is attached to the arm F or to the lever H. When it is desired to do plain weaving, the 





Fig. 907. 




Fig. 906. 

hand-lever S on the breastbeam is moved to the right, causing the lever Q to act on the hook M, 
pressing it toward the lever H, when it will hook under and lock the lever H as soon as the lever 
is raised to the proper height. The parts will remain in these positions until the hand-lever .S is 
thrown to the left, thus unlocking the lever H from the hook N, when the loom will be in con- 
dition for terry-weaving, all these changes being accomplished without stopping the loom. 

Before closing the chapter on the construction of the various looms for weaving terry fabrics 
we refer to the patent of T. A. Brady, it being a loom for weaving terry-pile fabrics such as 
Turkish towelings, etc., and in which there is a different throw or beat of the lathe, due to the 
shifting of the boxes or bearings for the crank-shaft of the loom. The shifting of the boxes car- 
rying the crank-shaft is effected by means of a grooved cam. 

Figs. 906, 907 and 908 are drawings illustrating the principle of this operation. 

Fig. 906 is a longitudinal section of parts of a loom sufficient to illustrate the present expla- 
nations. 






221 

Figs. 907 and 908 are drawings representing enlarged face views of the cam by which the 
parts are operated to effect the shifting of the slides forming the bearings for the crank- 
shaft, and thus regulating the forward beat (towards the last woven part of the fabric) of the lathe. 

The cam has an outer flange, h, an intermediate segmental flange, i, and a central cam, m, the 
inner portion of which is concentric with the flange 1, so as to form an inner groove, ;/, while the 
outer portion of the cam is such as to direct the roller on the stud of an arm fastened on the 
loom into a groove, />, formed between the flange i and the outer flange h. 

Pivoted toes s and / form continuations of the flange i, these toes being such that their ends 
can be thrown inward, so as to bear upon the nose of the cam in, or can be thrown outward, so 
as to come in contact with the outer flange, k, of the cam. The toe .? has a projecting pin passing 
through a segmental slot, w, in the disk of the cam, and having an anti-friction roller, which is 
acted upon by a spring, tending to thrust the point of the toe outward against the flange li of the 
cam, so that, supposing the cam to be rotating in the direction of the arrow, Fig. 907, the roller 
on the stud of the arm would be under the influence of the cam in and inner groove n, and the 
arm would be depressed at the proper intervals to effect the forward movement of the slides and 
the full beat of the lathe. If the toe s, however, is adjusted to the position shown in Fig. 908, 
the roller will traverse the outer groove,/, of the cam, and will be free from the influence of the 
cam in, so that there will be no vibration of the arm and no movement of the slides and crank- 
shaft; thus the lathe will move forward to the full-beat point on each stroke, so as to produce 
plain or unpiled fabric. The toe / serves to bridge the groove 11 when the roller is traversing the 
outer groove,/, there being in such case a practically unbroken flange, /', so as to insure the 
proper guidance of the roller. 

In order to permit the ready adjustment of the toe s to the position shown in Fig. 908, when 
such adjustment is desired, hang to one of the frames an arm, which is adapted to act on the 
roller, carried by the pin of the toe s, this arm being connected by a suitable cord to a lever, hung 
to a stud on the breastbeam of the loom, so as to be within easy reach of the attendant. 

For figured terry fabrics as produced on harness-work, the Geo. W. Stafford Manufacturing 
Company, Providence, R. I., build a dobbie specially adapted for this purpose. This dobbie 
requires the pegging of two patterns on the chain. By means of the box-chain we can arrange 
the former to move automatically sideways so as to bring the different patterns, as required by the 
fabric, under the operation of the hooks. Thus we can weave terry for a certain distance, and 
then move the chain for ordinary weaving. For very heavy work the " Positive Dobbie " must be 
used, which, by being a " Double Action" is very easy on the yarn, 

PILE FABRICS OF A SPECIAL METHOD OF CONSTRUCTION. 
Smyrna Carpets and Rugs. 

These fabrics are made on a loom specially built for their manufacture and is known as the 
" Hantelisse Loom!' 

Diagram Fig. 909 illustrates a section of this loom. In this loom the warp passes from the 
beam g (upon which it is wrapped) over the guiding roller f, through heddles b, c, down towards 
the place a, where the weaver is situated while at work. The heddles being in a horizontal 
position are fastened to two rollers, d and e. The latter (by reason of their turning to the right 
or left) operate the heddles, which in turn produce the opening of the shed. (The loom, it will 
be observed, is technically a " vertical loom.") 

The pile in these fabrics is produced by inserting, separately, loops of yarn for each square 
on the designing paper of the respective design. This method of producing the pile in a fabric 
is a slow and troublesome work, still fabrics showing many varieties of colors can be produced. 



222 

The body or ground structure of a Smyrna Carpet or Rug is made with either strong 
woolen-linen or jute threads, and the pile of a soft woolen yarn. 

Diagram Fig. 910 illustrates the method of interlacing (shown in the front view). The 
vertical threads represent the warp, and the horizontal threads the necessary ground or body 
picks. At a is shown the insertion of a loop (pile). This loop, intertwined with the two warp- 
threads of the ground structure, is shown separately in its section in Fig. 911. 

The body-filling is inserted by a "block," as shown in Fig. 912 (clearly indicating the yarn 
as wound around it, and leaving this block at the place marked p). The beating up of the filling 
(ground and pile) is effected by means of a comb shown in Fig. 913. In this method of operation 






Fig. 909. 



Fig. 910. 



Fig. 911. 



the weaver inserts two body-picks ; next, he places one row of pile loops over the entire width of 
the fabric (selecting their different colors in accordance with the design which is to be produced). 
Then he again inserts two body picks (by turning the rollers d or e for each pick) to be followed 
by the next row of loops across the fabric ; and selecting the colors as required by the design. 

This method of alternately exchanging two body picks with one row of loops is repeated 
until the fabric is finished. On fabrics of a sufficient width two or more persons can operate at 
once. After the fabric is finished upon the loom it is " sheared " so as to produce an even height 
of the pile. 

This method of tying each individual pile-thread to the ground structure in Smyrna or 
Turkey carpets and rugs is very laborious, and hence materially increases their cost of manufacture. 




Fig. 912. 



Fig. 913. 



Various methods have been devised to imitate these beautiful fabrics in a way that would give a 
better production for the manufacturer as well as to provide a mode whereby a certain proportion 
of any desired number of carpets of the same pattern might be produced in one operation. This 
has been accomplished quite successfully in a process invented by Messrs. Kohn & Watzlawik 
and resembles in its main features and principles the explanations given by us in a former chapter, 
pages 154 to 158, on the manufacture of chenille rugs and carpets, and pages 160 to 165, on the 
manufacture of chenille fringe. 

Such imitations of Turkey carpets are produced mechanically from patterns composed of 
colored squares that clearly indicate the design and arrangement of the colored squares to be 
reproduced in the carpet. In the carpet each transverse range of squares corresponds to a pick 



223 

of pile filling, and each pick of this pile filling consists of a woven strip (or ribbon), the warp of 
which is composed of wool threads of the required colors. These filling strips have edges con- 
taining no filling (fringed) and which are intended to be brushed up for forming the pile of the 
carpet. These ribbons or filling strips also contain no filling in their centre, for two reasons: To 
form the imitation of the knot characterizing the real Turkey carpets, and again to reproduce the 
(pile) pattern of the face in an ordinary woven appearance on the back. These explanations 
demonstrate that two operations are necessary in producing the imitation. First, the weaving of 
the fringed strips or ribbons composed of different colored threads, according to the transverse 



5 e_ a i ii i i i i i ■ i i 
I 1,11 I II I II I 

I I II I I II I I ■!* Ill 



i ivi i> i ii i&i le 

I I": '. !l;| 









I i l-= 

Uil'MiH 

II II 
II II 
1 1 


111 

II 


tiiiSfflJ 
















II II II < 


■' 






....... 


V 









Kig. 915. 



Fig. 916. 



ranges of the colored squares in the pattern, and, second, the weaving (or setting) of these strips 
in a common warp to produce the pile carpet. 

In diagrams Figs. 914 to 919 a clear illustration of the entire method of operation is given. 
Fig. 914 illustrates a carpet pattern. Fig. 915 shows one strip (ribbon) cut from a chain corre- 
sponding to the upper transverse range (or row) of the pattern Fig. 914. Fig. 916 shows a like 
strip from which the centre filling has 'been removed. 

Fig. 917 represents the back of the carpet. Fig. 918 illustrates by a perspective view the 
method of operation at the loom, weaving imitation Turkey carpets. Fig. 919 is a section cut of 
the shed and two transverse ranges of pile picks previously inserted. 

We will next give a short description of the methods for producing the filling strips or 
ribbons necessary for the construction of the fabric. 






Fig. 917. 



Fig. 918. 



Fig. 919. 



As many different warps for weaving the chenille strips for a certain carpet are necessary as 
there are differently figured or colored transverse ranges (rows of squares) in the pattern of the 
carpet, each warp producing any desired number of fringed filling or pile strips of the same trans- 
verse range of colors, that are woven into suitable warps for as many different carpets of the same 
pattern, or into a warp for one carpet as many times as the transverse range of colors correspond- 
ing to the strip or ribbon recurs in the carpet. Thus, for instance, the strip or ribbon shown in 
Fig. 916 corresponds with the transverse range A' of the pattern shown in Fig. 914, and, sup- 
posing that one hundred such ribbons are produced from one chain of warp, they may be used 
as a strip (pile pick) in one hundred carpets for one transverse range of colored squares in the 



224 

pattern, or in a given number of carpets for a multiplicity of identical transverse ranges of squares 
in the pattern. The length of these multicolored warps therefore not only depends on the number 
of carpets of the same pattern, but also on the number of times the same transverse range of 
colors is repeated in this pattern, also on the length of the pile of the carpet. After a warp is 
beamed, it is bound at intervals equal to twice the length of the pile to be formed by a few picks 
of any suitable filling, the fabric being cut centrally of the fillingless portion on opposite sides of 
the filling to form the fringes for the pile. The width of these multicolored-wool chains, or, in 
other words, the length of the filling strips or ribbons to be produced therefrom, corresponds, of 
course, to the width of the carpet to be produced thereby, and the number of colored-wool 
threads per inch, which is usually from four to five threads, according to the quality of the carpet. 
The length of the fringe in the chenille strips is regulated by interweaving a flat bar or lath, b, 
b', Fig. 915, of a certain width. 

After cutting the different strips apart they must be numbered. To prevent the displacement 
of the wool-yarn filling, these are firmly sewed to the warp with a sewing-machine, as shown by 
dotted lines x x in Fig. 916, and finally the pack-thread d, between the wool-threads c and c' , are 
drawn out to leave a central fillingless portion in the strip or ribbon, as shown in Fig. 916, that 
imitates in the completed carpet the knots of the true Turkey carpet, and reproduces the pattern 
on the back of such carpet, as shown in Fig. 917. By means of these strips or ribbons the 
carpets are produced as follows, referring more particularly to Figs. 918 and 919: A ground-warp 
is drawn in two harness, e and e', of an ordinary loom, the reed f of which contains one thread 
for each split. (The weave used for interlacing is the common plain ■" weave.) 

In beginning a carpet, a few picks of wool-yarn are first introduced into the warp, and then 
the first strip or ribbon. To prevent the shrinking of these strips they are secured at their ends 
to a rod or bar, i, triangular in cross-section, which is introduced into the chain or warp in such a 
manner that the rear or thicker portion will be elevated above the forward or thinner portion of 
this rod. By means of a brush the fringe at the front edge of the ribbon is brushed up or 
erected to form the pile. The position of the warp-threads is now reversed, the reed beaten up 
against the rod i, and the latter tilted so as to elevate its front edge above the rear edge, which 
will enable the operator to brush up the fringe along the said rear edge of the filling strip or 
ribbon, and when this has been effected the strip or ribbon is detached from the rod i, and the 
latter is withdrawn from the warp. 

In order to fill out the warp between the pile-threads of adjacent strips or ribbons, a few 
picks of strong wool yarn are interposed and a new strip of ribbon introduced as a filling into 
the warp of pack thread and the operation repeated until the carpet is completed, when again 
a few picks of strong wool yarn are woven in to bind the edges. The carpet so produced 
is then finished in the usual manner by steaming, beating, brushing and shearing. 

Having given in our chapters on pile fabrics (page 149 to 224) a very closely detailed 
description of their methods of construction, both theoretical and practical, commencing with the 
simplest structure and finishing with some of the most intricate pile structures known, we feel 
confident that we have imparted sufficient details to enable any student of technical designing to 
master the principles of construction of any given pile fabric. These chapters also illustrate the 
extensive use of pile fabrics for floor and other household decorations, in addition to their use 
for clothing purposes. The manufacture of these fabrics is of great extent and importance. In 
some households is often to be found for floor decorations a less durable and effective fabric known 
as the " Ingrain Carpel," which is no pile structure but a common double-cloth structure. 

In my treatise on " The Jacquard Machine analyzed and explained, with an Appendix on the 
Preparation of Jacquard Cards and Practical Hints to Learners of Jacquard Designing," the structure 
of the Ingrain Carpet fabric and the preparing of designs for the same, as also the practical part 
of manufacturing, and the tying-up of the harness and operating the loom, etc., are fully treated. 



225 

The thorough study of these chapters will prove very profitable, especially the chapters on 
tying-up Jacquard harness for the different other Jacquard fabrics such as damasks, dress goods, 
upholstery fabrics, gauze, shawls, etc. 

Two-Ply Ingrain Carpet. 

We herewith give the reader a brief description of the method of construction and the 
principles governing the manufacture of the Two-ply Ingrain Carpet, an article composed of 
two fabrics, produced on the regular double-cloth system. These two fabrics are arranged in the 
loom to form figures by a simple exchanging of positions (see Fig. 920). A great variety of 
colors may be put into each of these separate cloths, (I and II), and the most elaborate designs 



Face ok Wart. 



No. I, Single Cloth. 
No. II, Single Cloth. 



No. II, Single Cloth. 
No. I, Single Cloth. 



Warp threads a and b for cloth number I. 

Warp-threads c and d for cloth number II. 

Fig. 920. 

may be used for exchanging cloth I and II. On every part of the carpet where these two fabrics 
do not exchange, each works on the plain weave. The exchanging of these two fabrics binds 
both into one, thus forming the Ingrain Carpet. In the manufacture of this carpet four sets of 
warp-threads, and also four sets of filling-threads are generally employed ; but if occasionally more 
or less should be used in warp or in filling, or in both, in the same fabric, the principle of ex- 
changing is still observed. If employing four sets in warp and filling, two sets of each are used 
for forming the figure, the other two sets forming the ground. Each of the figure threads has as 
its mate one of the ground threads. In the common effects in the Ingrain carpet, (ground up, 
figure up, or one or the other shot about effects) these threads are so arranged that when a figure 
thread appears upon the face of the fabric, its mate appears upon the back, and when the figure 
thread appears upon the back of the fabric, the corresponding ground thread appears upon the 
face. 



Ground up 




Diagram Fig. 921 shows the section of the effect commonly used in ingrain carpet. 

Suppose the filling-threads for the figure to be: 
Red, indicated by heavy shaded circles; picks 2, 6, 10, 14, 18, 22, 26, 30. 
Black, indicated by full black circles; picks 4, 8, 12, 16, 20, 24, 28, 32. 

And the filling-threads for the ground to be: 
White, indicated by empty circles; picks 1, 5, 9, 13, 17. 21, 25, 29. 
Olive, indicated by light shaded circles; picks 3. 7, 11, 15, 19, 23, 27, 31. 

A careful examination of the drawing shows that the white threads mate with the red, and 
the black threads with the olive, so that when one of these colors shows upon the face the mating 
color will show upon the back, and vice versa. 



226 

As a general rule, these warp-threads are of the same color as the filling-threads; hence, 
every filling pick appearing on face is bound by a warp-thread of the same color, and if appearing 
on back by the other color of the same system; thus, in the present example, the white filling is 
covered on the face of the fabric by white warp, and if appearing on the back of the fabric by 
olive warp; the olive filling is covered by olive warp on the face of the fabric and by white warp 
on the back of the fabric. 

The red filling is covered by its red warp on the face of the fabric and by black warp on 
the back of the fabric; the black filling being covered by black warp on the face of the fabric and 
by red warp on the back of the fabric. 



i < ■ 



r ' 
r 
a 


aa 

IB 

BB . 




ISO 

s 

IB 


DBBBSI 

BBBBBB 


BB 
i 


i u 
i a 


BB 

Baa 






B 
VBBBB 


J 

inn 


i ■ 

KB 


■■■■ 






■ 1 
. EBB 

a 


ma 



■ I 

MULiJ _„.CC1D 




Fig. 922. 



Fig. 923. 



In the diagram Fig. 921 the four "standard effects" of the ingrain carpets are illustrated with 
32 picks, allowing 8 picks for the illustration of each part. 

First effect, picks 1 to 8, is ground up (white and olive). 
Second effect, picks 9 to 16, figure up (red and black). 

Third effect, picks 17 to 24, is first effect in "shot about" (red and olive up). 
Fourth effect, picks 25 to 32, is second effect in "shot about" (white and black up). 
Fig. 922 represents a small portion of a design illustrating the three principal combinations 
required in the manufacture of the two-ply ingrain carpets. /= figure up; //= ground 
up ; III = effect, technically known as " shot about," and derived from " one pick figure up, one 
pick ground up " (in the design), and repeated. 

In Fig. 923 a detailed description or analysis of the interlacing warp and filling of Fig. 922 
is given. In the same ■ represents figure up, a represents ground up, produced by the Jacquard 
machine; s represents weave for ground, a represents weave for figures, produced by journals. 



OMite. ®=(9li V *. ©=Heol 



=Blaxk. 



Ground. «,p . M,oAt-thrta,olf, svde Ijij s,vde. Tva,t/ir«. ton. $fbot-odroii,t cHcots. 




In Fig. 923 the weaving of the " shot about " effect calls for two picks face and two picks 

back. An examination of this part shows that the warp-thread represented by the light pick 5 - 

is to be raised, or has been raised in the adjoining heavy pick 3 i ; further, we find the two 

light picks separated by the raising of a different warp-thread in each pick, which is also effected 
between the two heavy picks by the lowering of another warp-thread. If these mate threads 
introduced in succession should be required to show side by side (as may be the case in some 
special effects) either on the face or the back of the fabric, these changes must be indicated on 
the design by different colors. If such effects are to be introduced when using the common 
ingrain Jacquard machine, the needles of the latter must be operated on at each pick. This 



227 

requires twice as many cards as are used in designs where the mate threads are always placed 
below or above their respective corresponding threads. 

In diagram Fig. 924 a section cut of an ingrain carpet, also containing the previously ex- 
plained effects of " mate threads side by side on face of the fabric," is shown in connection with 
the regular effects, " ground-up, figure-up, and both combinations of shot about." 

Diagram Fig. 925 indicates the rotation of inserting picks in each ply corresponding to the 
section of the fabric shown in Fig. 924. 









1st effect. 2nd effect. 




st effect. 2nd effect. 


Face-ply. | 


1 | 3 


5 


7 


9 | 10 | 13 | 14 

11 12 15 1 16 


19 | 20 | 23 24 
17 1 18 21 22 


26 2S 30 1 32 
25 | 27 | 29 | 31 


34 | 35 | 37 | 4° | Face-ply. 


Back-ply. | 


2 | 4 


6 


8 


33 | 36 | 33 | 39 | Back ply. 



Fig. 925. Diagram illustrating the rotation of inserting the picks in each ply, corresponding to section of two-ply 

ingrain carpet, Fig. 924. 

Other effects (combination of colors) in ingrain carpets are produced by using three different 
colors of filling in each of the two single-cloth fabrics, and also by throwing them singly and in a 
definite order or succession in each ply. For example, the three colors for the one cloth are 
black, blue and brown. They must be interwoven as follows : Black — blue, brown — blue, 
black — blue, brown — blue, and so on. 

Suppose the colors required to be used for the other cloth are white, olive and drab. They 
must be interwoven as follows : White — olive, drab — olive, white — olive, drab — olive, etc. 

0,©,.®6<§VO*%<8V© 8 
Q^lUii.. O =MU.ti 

O =BCae.. @ 'Oiivt 
@ =Brounv ® -J)ra.b. 

Fig. 926. 

As the loom weaves both ply at the same time, throwing a shot in each ply alternately, the 
actual order of weaving in the present example would be as follows: 1st pick, black ; 2d pick, 
white; 3d pick, blue; 4th pick, olive; 5th pick, brown; 6th pick, drab; 7th pick, blue; 8th pick, 
olive, and so on, eight picks in the repeat of one combination. The colors printed in italics repre- 
senting the colors of one ply, and the colors printed in roman represent the colors of the other ply. 

Fig. 926 illustrates a diagram representing the previously explained method of placing colors 
in an ingrain carpet. 

Rules for Selecting the Squared Designing Paper for Ingrain Carpets. 

In selecting the squared designing paper for a two-ply ingrain carpet, always observe the pro- 
portion existing between the number of warp and filling-threads. For instance, take a carpet having 
1072 ends warp (536 ground and 536 figure) per yard, with 30 picks per inch (1 pick ground and 
1 pick figure, or 15 pairs). Then, 1072 ■+■ 36 = 29M ends of warp per inch. The proportion is 
as 29M : 30; or, what is practically the same, 30 : 30, showing that the paper must be equally 
divided, and 8x8 the squared designing paper to be used. 

Again, take a carpet having 832 ends warp (416 ground and 416 figure) per yard, with 20 
picks per inch (1 pick ground and 1 pick figure, or 10 pairs). Then, 832 -*■ 36 = 23 -h, and the 
proportion is as 239 : 20, or as 7M : 6S, practically 8:7; and 8x7 paper may be used. 




Gauze Fabrics. 

Principle of Construction. 

Gauze fabrics form the second main division of textile fabrics, and are characterized by 
not having their warp-threads resting parallel near each other, as observed in previously explained 
weaves and fabrics. In gauze fabrics they are more or less twisted around each other, forming 
through the different ways of twisting as well as of stopping to do so, different designs. 

In gauze we find two distinct divisions of warp-threads : The regular warp called the 
" ground-warp," and the " douping-warp," or the warp used for twisting around the former. The 
" douping-warp " threads are also known as " whip-threads." 

In diagram Fig. 927, the structure of a " plain gauze fabric," 
is shown. Threads indicated by a and shown in outlines repre- 
sent the " ground-warp; " whereas, threads marked b and shown in 
black illustrate the " whip-threads." 

Gauze weaving is done upon a system wholly apart from , ^ ( ^ ^ ,? Fig. 927. 
ordinary and pile weaving. For the reason that we find two systems 
of warp-threads in the gauze fabrics we must use two systems, or 

sets of harness, for operating the warp at the weaving. One set of the harness is known as 
the " Ground-harness set" (which we will indicate in our following illustrations of drawing-in drafts 
for gauze weaving by A) and the other harness set is technically known as the " douping harness set" 
(which we will indicate through the lecture by E). Before proceeding with the weaving and con- 
struction of gauze fabrics we will give an explanation of the douping-harness set, and use for 
explanation the arrangement necessary to produce fabric, Fig. 927, or a single one-sided doup. 

In diagram Fig. 928 a specimen of a complete doup is shown. In the same we 
find a heddle similar to heddles used in regular weaving (see a, b in diagram) and 
which is known in the present kind of weaving as the " standard heddle." To this 
standard heddle we find the actual doup adjusted (see d, c in diagram). The doup con- 
sists of a smooth and strong linen or silk thread which is fastened to the lower part 
of a common harness frame (see c in diagram), passes then through the upper opening of 
the standard heddle (see e in diagram Fig. 928), returning to its starting point by passing 
through the eye of the standard heddle, and thus connecting the upper part of the doup 
' 92 to the' standard heddle. Through the part of the doup extending outside of the upper 
part of the standard heddle to its eye, the whip-thread is passed, (see black dot at place indicated 
by d in diagram 928 representing its section). Two movements of the doup and the standard 
heddle contain the entire secret of gauze weaving When these are clearly understood by the 
student well up in designing and weaving the first main division of textile fabrics, the method 
of constructing the present system will readily explain itself to him. 

In gauze-weaving, every warp-thread (ground as well as whip-thread) must be drawn, the 
same as for common weaving, in the ground harness set; see A, Fig. 929. Next, the whip-thread 
is passed below the ground-thread through the doup (see B in Fig. 929, illustrating the plan of 
this method of operation), and with its mate (the ground-thread), through one dent of the reed. 

Now let us examine the first movement of the doup and its standard heddle, and also with 
reference to the ground harness set. 

Suppose we lift the harness frame containing the doup adjusted to its lower shaft, technically 
known as the "skeleton harness," and so permit the doup to get loose, and consequently allow 
the whip-thread to be operated on, as in common weaving, by means of the ground harness. 

(228) 



229 



The whip-thread will in this instance return to its regular position near one side of the ground- 
warp, as regulated by the drawing in of the warp in the ground harness set (to the right hand 
side in the present example). Suppose, again, we raise this ground harness and insert a pick in 
the shed thus formed. During this process the doup will raise, but out of action, behind the 
reed. Having thus inserted pick number one let us next raise the standard heddle and the 
skeleton harness, leaving the ground harness set undisturbed. This movement of the harness 
compels the whip-thread to raise, close to the eye of the standard heddle, drawing the whip- 
thread below the ground-thread and raising the former on the opposite side of the ground warp- 
thread, as done in the previous pick. This time the doup will be in position parallel to the 
standard heddle, whereas the whip-thread will be crossed behind the reed, between the sets of 
douping and ground-harness. This crossing and raising of the thread to full height of shed in 
such a short distance will consequently put a great amount of tension on the whip-thread and 
therefore necessitate two points in the method of operation which we will mention briefly. 
We must have sufficient space between both sets of harness, i. c, the heddle of the ground 
harness set in which the whip-thread is drawn and the standard heddle and doup-head through 
which this whip-thread is passed in rotation. We also must arrange in rear of harness set 
near the whip-roll an arrangement technically known as " Slackener'' All the whip-threads 
required to doup are passed over this slackener, which is situated above the regular warp- 
line after leaving the "whip-roll" of the loom and in their running towards the ground 

harness set. 




Fig. 930. 



Fig. 931. 



On the first pick previously ex- 
plained, this slackener will remain undis- 
turbed, as no strain is required on the 
whip-thread, whereas on the second pick 
explained, this slackener is automatically 
lowered to bring the whip-thread nearly 
in the regular warp line in rear of har- 
ness. This in turn allows the whip-thread to ease up in front, where required, to cross around 
the ground warp-thread and is raised a short distance by the doup on the opposite side of the 
ground warp-thread, as compared with the first pick. This slackener for gauze weaving is also 
technically known as "easer" (by reason of easing the whip-thread when douping). We will 
later on return to a more detailed illustration and explanation of the same and its arrangement 
for plain as well as figured work. 

In diagram Fig. 930, A represents the whip-roll of the loom, b the section of the slackener, 
d ground heddle for ground warp-thread, e ground heddle for whip-thread, /doup, h-i reed, k 
last end of woven fabric. Thus the line shown in full black, a, d, k, represents the ground-thread, and 
line in full black, a, b, e, k, represents the whip-thread;, both threads "at rest." The object of the 
present illustration is to explain the principle of the slackener, and therefore we want the doup 
(standard and skeleton harness) raised (see/to^ - ) as represented by g. To counteract the strain 
thus put on the whip-thread, we lower at the same time the slackener (see b to c), giving it 
position c, at the same time the doup is raised to position g. Hence the dotted line a, c, e, g, k 
represents the whip-thread when douping. After inserting the filling by means of shuttle (s), the 
shed (n) closes and the slackener returns automatically to its point of starting, /;. 

In Fig. 931 we illustrate a corresponding ground plan to diagram Fig. 930, representing a 
clear idea of the drawing in of the warp and threading of the doup. Outlined warp-thread a, d, k 
represents ground warp-thread, thread shown in full black, a, e, /, k, the whip-thread, d and e 
the ground harness set, / the passing of the whip-thread below the ground warp-thread and k, i 
the reed. 

This illustration explains the threading of a whip-thread in a doup situated at the left of the 



Fig. 932. 



230 

ground warp-thread, but the student will readily apply the same arrangement to the opposite 
kind of doup by simply reversing the illustration. 

We will next turn our attention to the designing of various gauze fabrics, and commence 
with the plain gauze, as illustrated in Fig. 927. In plain gauze all the warp-threads work in 
pairs — 1 end "whip" and 1 end "ground." The entire warp is drawn on harness similar to any 
other warp. Afterwards the whip-threads are passed below the standard heddles and threaded 
in the doup (see Fig. 929), which are passed through the standard heddles (see Fig. 928). 

Fig. 932 represents a different method for threading the doup, occasion- 
ally used, but which is not as practical as the arrangement of the doup illus- 
trated in Fig. 928. 

In diagram Fig. 929 we illustrate the plan of drawing-in ground harness 
and threading the doup for producing a piece of plain gauze, as shown in 
Fig. 927. 

A represents the set of ground-harness (2-harness). 

B represents the douping set. (Standard and skeleton.) 

Standard warp-threads are illustrated in outline. 

Whip-thread is shown in full black. 

We find, as previously mentioned, every warp-thread threaded first in the ground harness 
set; next, the whip-threads passed below. the ground-warp and threaded to the doup. Examining 
the plan of the fabric, we find pick 1 requiring the whip warp-thread raised in its proper position 
as placed by the ground harness (to the right of the ground warp-thread); therefore this pick 
will require the raising of ground harness 2 and the skeleton harness, hence loosening the doup 
for common weaving. Pick 2 calls for the raising of the whip-thread on the opposite position of 
pick 1 (to the left side of the ground warp-threads) ; therefore we must doup on this pick by 
raising only the standard and the skeleton harness, or, in the present example, the entire douping 
set. Pick 3 = pick 1, pick 4 = pick 2, thus 2 picks repeat. 

In the present example, Fig. 927, we find every pair of 
warp-threads (1 ground and 1 whip) twist in the same direction 
and having the crossing in the corresponding drawing-in draft 
arranged from right to left. This crossing can also be arranged 
in the other direction, see Fig. 933, but will, in the present fabric, 
be of no advantage to its general appearance, as shown in 

Fig- 934- 

We will next explain and illustrate the combination of both 
styles of crossing in the same fabric. For example see Fig. 935. 
the drawing in of ground harness and arrangement for threading doup: 1st pair, whip-threads 





Fig. 934. 




33B& 



Fig. 935. 



Fig. 936. 



I5°3 Fig. 937. 



Harness-chain for plain 
;uaze fabric, Figs. 927, 936. 



= 


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1 



3. 




¥ 


<£ 






v.yc 


X 




X 




?r ■ 


X 


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z-* . 


X 




X 




I s .' • 



t Fig. 938. 



Harness-chain for plain gauze 
fabric, Fig. 934- 



threaded to the left-hand side of ground warp-thread ; 
right-hand side of ground warp-thread. 



2d pair, whip-threads threaded to the 



231 

Fig. 936 is the plan of the woven fabric. Harness chain is similar to the one required and 
explained for fabric Fig. 927 and illustrated in Fig. 937. 

The drawing-in drafts, Figs. 929, 933 and 935, are illustrated for 2 ground harness and 
1 doup. This is done to simplify the principle of construction. The same way that we can 
illustrate the common plain weave drawn in 2-harness straight, for the clear understanding of the 
beginner and use in practice, 4, 6, 8, etc., harnesses as required and guided by the height in 
texture of the fabric (number of warp-threads per inch), we may also, in practice, have to increase 
in gauze-weaving the number of ground harness, or the number of doups (standard and skeleton), 
or both at the same time. 

Peculiar Character of Gauze Fabrics. 



Comparing a plain gauze fabric, as shown in Figs. 927, 934 or 936, to any other woven 
textile fabric results in not finding one as firm in its method of interlacing nor as light in texture. 

The principle of gauze-weaving — the twisting of warp-threads around 
each other and holding at the same time the filling securely fastened 
between — will necessarily result in producing a very strong fabric; again, 
the twisting of the warp-threads between each pick, in plain gauze, will not 
allow the picks to come close together in the fabric, thus resulting in the 
production of a fabric containing large perforations. 

In diagram Fig. 939 we illustrate the plan of a fabric which is actually 
a combination of plain and gauze and is technically known as leno, or half- 
gauze. Pulling out from the present fabric sample every uneven numbered 
pick (1, 3, 5, 7) will result in transforming the half-gauze in the fabric to a 
regular plain gauze effect. 




Fig 939. 



Combination of Plain and Gauze 'Weaving, Technically Known as Fancy Gauze. 

In Fig. 940 a combination of plain weaving and gauze is shown in the plan of a fabric. 
An analysis of this plan will show 3 picks interlacing on ordinary weaving to exchange with one 




Fig. 941. 



Fig. 940. 



- 


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■6 





5- 




X 









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> 






X 


& ' • 






X 




z~+ • 


*, 






X 


W •' 



Fig. 942. 




Fig. 944. 



Fig. 943. 



gauze pick. Thus four picks in repeat. Drawing in of ground harness and the threading of 
the doups is shown in Fig. 941. A represents the ground harness set, (2 harness), B represents 
the doup (standard harness and skeleton harness). 

Fig. 942 illustrates the harness-chain executed correspondingly to Figs. 940 and 941, and so 
will readily explain itself. 

In Fig. 943 another plan of a gauze fabric, combining the common plain cloth with gauze 



232 



structure, is shown, 
changing the same 
harness set, and the 
In Fig. 945 we 
the only difference 
Repeat: four warp 
and the threading 
same we used four- 
shown in Fig. 935 
same effect. 



Liberating picks, 2, 3 and 8, 9, of the present structure would result in 
to the fabric shown in its plan in Fig. 940. The drawing in of ground 
threading of doups to fabric, Fig. 943, is shown in Fig. 944. 
illustrate the plan of a gauze fabric similar to the one shown in Fig. 943, 
being the using, alternately, left and right-hand threading of the doups. 
-threads, " two pairs," and 6 picks. Drawing in of ground harness set 
of doups for producing the present fabric is shown in Fig. 946. In the 
harness for ground-warp, but we can also use the drafting and threading 
, which only calls for two ground harness in set A and will produce the 




Fig. 946. 




Fig. 948. 



Fig. 945. 



JJJLLJl 




"|iw/ 


Of 


Mi 


W~M 



Fig. 947. 



Another plan for producing fancy gauze-effects is found in arranging the whip-thread 
to cross over two or three ground warp-threads; for example, «s shown in the plan of a fancy 
gauze fabric, Fig. 947. In the same we find the whip-thread, after interlacing in connection with 
three ground-threads into three successive picks, on regular plain cloth, cross Delow the mate 
(3) ground-threads for forming at the fourth pick gauze. Repeat: 4 warp-threads, (1 whip, 3 
ground), one set drawn in one dent, 4 picks, 3 ordinary plain weaving, 1 douping 

The method of drawing in both systems of warp in the ground harness set, and the method 
of threading the whip-threads in the doups is shown arranged for three successive sets (corres- 
pondingly to fabric sample) in diagram Fig. 948. The same reason which compelled us, in plain 
gauze, to draw each pair of threads (1 ground, 1 whip) in one dent, leaving as many dents 
empty between the threading of each pair of warp-threads as required by the size of the 
perforations in the fabric, requires in the present example of fancy gauze, Figs. 947 and 948. 
to thread each set of 1 whip-thread and 3 ground-threads in one dent, leaving as many 
dents empty between the threading of each set as required by the size of perforations wanted 
in the fabric. 

Fig. 949 illustrates the harness-chain necessary for weaving the present 
explained fabric of fancy gauze (Fig. 947.) 

The next plan for constructing fancy gauze fabrics is to use two 
doups in connection with four or more ground harness. In this manner 
fabric sample, Fig. 950, is constructed. Fig. 95 1 represents the drawing in of 
ground harness and the threading of the doups. In the same we find two 
sections ground harnesses I and 2, with doup 1', forming section 1 ; ground 
harnesses 3 and 4, with doup 2', forming section 2. 



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233 

In drawing in and threading doups we arranged two repeats for each section, thus 8 
warp-threads in repeat of arrangement of pattern. This method of drawing in ground harness 
as well as threading of doups will, as shown in the fabric sample, allow us to operate each section 



l*F 




Fig. 951. 



'A 


iSI t/i 


ii 


i 








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Fig. 950. 



Fig. 952. 



independent of the other, thus forming, by arranging the douping for each set for different 
p : cks, additional figures in the fabric. 

Fig. 952 illustrates the harness-chain for fabric and drawing-in draft, just explained. 




Fig. 954. 



*■ Fig. 953. 




Fig. 956. 



, Fig. 955. 



In diagram Fig. 953 the plan of another fancy gauze fabric, produced with two doups, is 
shown. Fig. 954 illustrates the method of drawing in the ground-harness and the threading of 
the doups, which in the present example is a right-handed and a left-handed doup for each set. 



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L 

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14 


1 

! 




. 


V 






X 


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X 










X 


v*-«uk. 


■ 




X 






K 






a* • . 


* 




x 


o 




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X 




X 






8 




8 


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Fig. 957. Fig. 958. 

Four ground-harness are used in connection with the two doups. Ground-harness 1 and 2 (A) 
and doup 1' (B) equal 1st set; ground-harness 3 and 4 (A) and doup 2' (B) equal 2d set. 

Fig. 955 illustrates another fancy gauze fabric, produced with two se^s of doups and upon a 
general arrangement in two sections. 



234 

Fig. 956 shows the general arrangement for drawing in ground-harness set as well as the 
threading of the doups. Four ground-harnesses are used in connection with the two doups. 
Ground-harness 1 and 2 (A) and doup i' (B) equal 1st set; ground-harness 3 and 4 (A) and 
doup 2' (B) equal 2d set. 

Fig. 957 illustrates the harness-chain for the fabric and drawing-in draft just explained. 



Fig. 960. 




Fig. 959. 





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Fig. 961. 



Fig. 958 illustrates the plan of another fancy gauze fabric, constructed after the foregoing 
example, using only warp threads 1, 2, 5 and 6 from the latter (955). 

Diagram Fig. 959 illustrates the plan of another fancy gauze fabric. 

Fig. 960 illustrates the corresponding drawing in of warp in ground-harness and the thread- 
ing of the whip-threads in two doups (1' and 2'), 



b a 




Fig. 962. 



Fig. 9*3. 



1 


i 

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is., p- 


8 






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X- 8 ll B 


t.V. 


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X- ~ T* T 







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X X 6 * 




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X X 5'.' 




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•X If 




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If 





Fig. 964. 



Fig. 961 shows the harness-chain required for weaving the fabric shown in Fig. 959. 

The "two-section" arrangement, as explained and illustrated, can be extended to three, four 
or more sections, and in this manner giving fancy effects to an unlimited number of designs. 

A further step in producing figured gauze is the combining of gauze and ordinary weaving 
in the form of stripes. After using a certain number of warp-threads, drawn in its own separate 



; 



235 

set of harness, for interlacing with the filling either on plain, twill or satin, or in a combination of 
all three, use similar effects as previously illustrated and explained, either with one, two or more 
differently working doups, left or right-hand twisting, or all the effects combined. This method 
of combining stripes of gauze with ordinary woven cloth will also afford great scope for producing 
figured effects through alternately exchanging both systems of weaving warp and filling ways. 

Design Fig. 962 illustrates such a stripe effect in a fabric. Fig. 963 shows the corresponding 
drawing-in draft and threading of the doups. Warp-threads indicated by a (light) are the ground- 




Fig. 965. 




Fig. 966. 



L 1. I. K. 



threads, and warp-threads indicated by b (shaded in vertical direction) are the whip-threads for 
the gauze; warp-threads indicated by c (shaded in diagonal direction) are the threads for pro- 
ducing the ordinary cloth (plain weave in present example). The drawing-in draft shows three 
different sets of harness used. 

The set indicated by A represents the ground-harness set for the gauze part; the set indicated 
by B represents the harness for raising warp-threads interlacing in the ordinary cloth; the set 
indicated by C represents the douping set of harness for producing the gauze part. 

Fig. 964 represents the harness-chain necessary for weaving a fabric as shown in Fig. 962. 

As previously mentioned, figured gauze can also be produced by using two whip-threads 
against two ground-threads, thus using four ground-harness to one doup. In such an example 
all four threads must be drawn in one dent. 




Fig. 967. 

Diagram Fig. 965 illustrates a drawing-in draft arranged in this manner, and Fig. 966 shows 
a corresponding fabric. 

The interlacing of the plain for the ordinary interwoven part of the fabric can in this example 
be extended to any figured weave up to 16-harness. Four independent sets of doups are made 
use of and so the douping can be correspondingly arranged on each pick at will for each indi- 
vidual doup. 

By arranging the present style of drawing in ground harness and threading of doup for a 



236 



"sectional repeat effect" (repeat the drawing in and threading of doup of each four warp-threads 
two, three or more times before changing to the next four warp threads) novel effects for fancy 
gauze fabrics may readily be obtained (with a correspondingly large figure). 

Fig. 967 illustrates the drawing-in draft for a 
figured gauze on two sets (for illustrating previously 
mentioned section draws) having four ground harness 
and one doup for each set (nine repeats in each set). 
These two sets are also separated by three warp-threads 
arranged for ordinary weaving, the centre thread of 
which is indicated as a cord (or a heavy thread, pre- 
ferably of a different color). 

If weaving for a certain number of picks or- 
dinary cloth (plain) with set No. 1, and next gauze 
with set No. 2, changing again afterward, thus ar- 
ranging for an equal number of picks, set No. 1 for 
gauze and No. 2 for ordinary cloth (plain), also 
separating each of these two changes by a few picks 
ordinary woven cloth, inserting in their centre a 
heavy filling (similar to cord in warp), we get a 

checker-board effect for design composed of ordinary and gauze 
weaving as shown in diagram Fig. 968. 

In reeding the warp for example Fig. 967, leave one, two or more 
:r . dents empty between each four threads (of two whip and two ground) ; 
again, when reaching the three ordinary weaving threads, place 
the cord in a separate dent and each of the other two ordinary 
weaving threads in the dent as situated on each side and which 
is occupied by the set of four threads for gauze weaving. For 
example, if arranging the reeding of the warp, one dent taken 
to alternate with one dent left empty all over the regular work, we 
find the reeding at the part where the cord comes in arranged as 
follows : 




a a a a 


B B 


a ■ 


Cord. 








BBB 

a a a a 

a u . a 


E B 
BB 


V 

■ a 


■ s a.: 






a a m 






BBB B 

BBB B 

BBB S J 


a 


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B 


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B H B 

BIB I! 


BBB 
BB 


B 

r a 




BBB B 






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BBB ■ 








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em 


a 
m a 












BBB B . 








BBB B 

a ■ b 
a a m 


EBB 


■ B 
B 




m B a 

BBB a ' 


B 


B 


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a a fl 
a « a , 

B fl B 


BBB 

B9 


B B 
fl 

B ■ 




a a a 
a a a: a 


■ a 

a a 


e a 

B 












a b a 


a a 


B B 

B 




■ ■ B 


1 a 


« ¥ 












b a sra 


a 


r>a 




a b a 

B BBS a 


■ 




1 


B BB B 

a ebb a 

b a a 


a 

I B 


BB 




BBSS 

a a b 

B BBB B 
B BB a 

B BBS B 
BBB 

a a a a 


■ B 
B 

e m 

B 

2 a 

m 


BB 

BB 
BB 


}" 


B BBB B 

a bb a 

B BBB B 


B 
1 B 
a 




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a a a a 








B BBB B 


a 




} 


B IB E 






r 


BBB 


I H 


HI 




BBB 









-<-« 4 — o — 4 — o — 5 (4 + 1) — 1 (cord) — 5 (4+1) — o — 4 — o — 4. »-*- 

Fig. 969 illustrates a specimen of a harness chain for weaving 
, the present example of fancy gauze. In the same we find two slack- 
eners used. 

1st slackener to lower its whip-threads on picks 8, 9, 10 — 14, 15, 
16 — 20, 21, 22 — 26, 27, 28. 

2nd slackener to lower its whip-threads on picks 44, 45, 46 — 50, 
51,52—56, 57, 58—62,63,64. 

In the beginning of our chapter on gauze we gave the princi- 
ple of a slackener or easer. We would only state now that for 
every set of doups which operate the whip-threads at different 
picks when done on any previous set of doups in the same fabric, 
we must use a separate slackener ; thus in the examples explained 
as constructed on two sections, we must use two slackeners. This 
method of using more than one slackener is increased in practical work, when required, up to 
three but seldom to four. 

Diagrams Figs. 970^ and 970^ illustrate figured gauze effects as produced by harness work. 



lBDBQDBDBUBnBQB 

Harness-chain for 14- 
72 picks. 

Fig. 969. 



'237 



Gauze Weaving Mechanism for Open-Shed Looms. 

Until lately gauze fabrics, as thus far explained, have been produced only upon looms 
constructed after the principle known as the "single-acting" method, which is characterized by 



;| r v^|j;jlMM t »}|.v". 1 i; ! ; : ; ! ; | ;,; ; ;jir-;|r".-t 



!!.■ l|li!X , :;::!!!i: % f'f !!!■■ '' Jliljl'W'tiljji ■■ i ■ 




Fig. 970a. 



leveling the entire warp at every pick, and at this leveling point cross the warps so as to produce 
the twist. It will be proper to mention that this single-acting method for operating the warp- 
threads only allows a moderate speed which at the present time is insufficient for the requirements 
of a loom ; hence every manufacturer of this class of fabrics has been anxiously awaiting for 




a method by which gauze weaving can be successfully executed upon looms built after the 
principle known as the double-action, giving an increased speed at which the loom can be 
operated. This gain of speed is owing to the ability of the double-acting loom to select and 



238 

withhold certain warp-threads for a certain number of succeeding picks of the shuttle, as the 
pattern being worked may demand. 

However, the construction of the double-acting loom heretofore employed did not permit of 
its weaving gauze, because of the inability of the loom to operate a warp-thread so as to raise it 
for one pick of the shuttle, and then after that pick, lower it and raise it again before the suc- 
ceeding pick. 

The Geo. W. Stafford Manufacturing Co., Providence, R. I., are now building a Double- 
Action Dobbie which overcomes this defect ; hence is capable of weaving gauze with the character- 
istic high speed of the latter. This is due to the fact that the double-acting loom is adapted to 
raise a warp for one pick of the shuttle, and then after that pick lower and raise it again before 
the succeeding pick. The new features of the Dobbie, as thus built by the Stafford Manufactur- 
ing Co., are the combining of the ordinary full motions of the recurrent or reciprocating harnesses 
with a novel and peculiar " half-and-return " motion of others of the harnesses when so desired. 
To gain the "half-and-return" motion they use an extra half-stroke lifter (knife), which has half 





Fig. 971A. 



Fig. 971a. 




Fig. 971. 



Fig. 971c. 



the limit of traverse that the ordinary lifters have. The half-stroke lifter has suitable jacks 
engaging therewith, which are jointed in the common manner with a connecter co-operating with 
an operating lever. 

The half-stroke lifter is reciprocated by a peculiar half-motion device. A second " Jialf-and- 
return" motion for certain other harness is obtained by the arrangement of a pair of ordinary 
operating levers with connections to a single harness controlled by the levers working simultane- 
ously and oppositely or singly. To give a proper understanding of the subject Figs. 971, 971a, 
971b, 971c, 97 id? and 97 le have been designed. 

Fig. 97 1 represents a rear view of the head or end of the loom containing the harness-operat- 
ing mechanism. The same also shows the full and half-stroke lifters as at their midway points 
of travel, and the co-acting jacks and conjoined parts according to their relative positions. 

Fig. 97 \a is a view of the double-hooked jack detached. 

Figs. 971^, 97i<r,97i^/and 971*? illustrate four successive relative positions of the harness and 
harness-operating levers as they occur in the weaving according to the present explained 
method (plain or gauze). 



239 



The parts indicated D and C are portions of harness-frames provided with single-eyed 
heddles carrying the warps m and it, respectively. These frames are connected by the respective 
cordings d' and c' , with their operating-levers J and c, the former co-acting with full stroke lifters 
and the latter with the full and half-stroke lifters. 

The standard frame B is provided with a doup heddle, through which passes one side of the 
looped cord or doup k, the ends of which are attached to the skeleton-harness A. Frame B is 
connected with lever b by means of cording b', and co-acts with full-stroke lifters. The skeleton- 
harness A (shown in portion) is operated by the half-motion levers a! a 2 , to which it is con- 
nected by a Y-shaped connecting strap R, both forks of which are equal and connected, one 
with each lever a' a 2 , respectively, and its stem is connected with the skeleton A. The harness- 
frames B and D make full straight-away motions, while the parts A and C make half-and- 
return motions, and are also capable of making full straight-away motions. These parts are 
thus termed, the former "full-motion " and the latter " half-and-return-motion" harnesses. 

Warp-thread indicated by n is the standard warp and warp-thread m the whip-thread. 




Fig. 971a?. 





Fig. 97i£. 



The method of operation for producing common gauze weaving is as follows : The harness 
C, carrying the standard warp n, is given the half-and-return-motion in order to carry the warp 
to the middle lift, where the descending whip-thread m can be passed under warp n, which then 
descends, while the doup k raises warp m to form the upper part, while the warp n forms the 
lower part of the shed for the next pick of the shuttle. 

Referring to Fig. 97 \b suppose this position is the first position before starting the loom, which 
may be supposed to have been previously making gauze stitches, and which came to a rest, while 
the warps were partly turned on themselves for the next twist. In this position all the harnesses 
A, B, C, D, are low and the whip-thread and standard-thread, m and n, are leveled and crossed 
one above the other, before being twisted in the formation of the succeeding gauze stitch. The 
levers a! a? b c d in this first position are all in line and the branches of the forked connections are 
both taut. Position of Fig. 971c is produced by the levers a' and d moving to the outer limit on 
full-stroke lifters and the levers a 2 b c remaining at rest. This serves to raise harness A and D 
from lowest to highest limit. By this shedding movement the crossed warps have been tightly 
twisted on themselves, and the shuttle here makes a pick through the shed and interweaves the 
filling between the twisted warps. Position Fig. 971a? is obtained by levers a' and a 2 moving oppo- 
sitely on full motions — one on a lifter and the other by a retracting-spring, and thereby giving 
their skeleton-shaft A a half-and-return motion; also, by lever b moving outwardly on a full-stroke 
lifter, and accordingly moving the standard harness B from low to high limit; also, by lever e 



240 

co-acting with the half-stroke lifter and imparting a half-and-return motion to its frame C; also, 
by the lever d moving inwardly a full motion by means of a retracting-spring, and imparting a like 
motion to its upper warp-frame, D, which moves accordingly from high to low limit. During this 
change of position the warps have been crossed and twisted on themselves, forming a gauze stitch, 
and then the shuttle picks and lays the filling. The next and fourth position of Fig. 97 1£ is ar- 
rived at by levers d and a' remaining at rest, while a 2 and b are moved in by virtue of their respec- 
tive retracting-springs, and c is carried out on a full motion by virtue of its jack co-acting with a 
full-stroke lifter. These movements have caused the doup-frame and harnesses A and B to 
descend from high to low limit, frame C to rise from low to high limit, and frame D to remain at 
rest at low limit. In this change of position the warps have not been twisted, but merely crossed 
side by side, as in plain weaving, and in this position of Fig. gjic the shuttle picks and interweaves 
the filling. This position now changes the position of the upper and under warps (standard and 
warp-threads) reversely relative to the filling. 

From the position of Fig. 97 1£ the changes may be made, according to the pattern desired, 
into a series of succeeding similar positions, and thus make more plain weaving-stitches, or it may 
be changed back to the second position of Fig. 971c and repeat the described gauze pattern. 

In Fig. 971/ we show the (upright lever) double action dobbie as built by the Geo. W. 
Stafford Manufacturing Company, to which the present explained mode of weaving gauze fabrics 
applies. 

Jacquard Gauze. 

In gauze fabrics constructed upon the Jacquard loom, in which it is desired to produce large 
and elaborate designs by the aid of figuring gauze and ordinary weaving, it will be necessary to 
arrange a slackener for every whip-thread. 



CL.1- c <L at c i 







f Doup> 




fc. I. 

Fig. 973. Fig. 974. 




Fig. 977. Fig. 978. 



Fig. 972. 



<*■ «. e. ol. 

Fig. 975. Fig. 976. 




Fig. 979. Fig. 



[In my treatise on "The Jacquard Machine, Analyzed and Explained," etc., a chapter is 
entirely devoted to the method of operation in tying up looms for these fabrics as well as the 
preparing of designs for the latter fabrics.] 

We will next explain the method of operation and adjustment of slackeners in Jacquard 
fabrics composed of threads working in pairs (one whip-thread douping with one ground-thread). 



241 



In such fabrics every whip-thread must be threaded three times ; first in a heddle in rear of the 
regular harness, technically known as the "rear heddle" or "rear harness." These heddles have 
eyes i'/ inches high and are fastened from \){ to I *.< inches lower than the heddles of the 



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Fig. 981. 

ground-harness and the doup. This rear harness is generally placed at a distance of 8 to 10 
inches from the ground-harness. Each rear heddle is connected by means of a harness-cord for 
operating the corresponding standard heddle of the doup at the place where the latter joins the 
neck-cords of the Jacquard machine (thus both harness-cords to one hook), and consequently the 





Fig. 982. 

rear heddle will lift at the same time when raising the standard, and thus the whip-thread is 
"slackened" from the rear when required to twist around the ground-warp when douping. 

After the whip-thread is drawn in the rear heddle, it is next drawn in its respective heddle of 
the ground-harness, from where it is threaded to the doup. 



242 

In diagram Fig. 972 a plan of the entire procedure as thus far explained is given. 

In diagrams Figs. 973 and 974 are shown the ground plans of threading the previously ex- 
plained Jacquard gauze. Fig. 973 represents the threading of the whip-thread in a doup situated 
at the left-hand side of the ground-thread (pair). Fig. 974 illustrates a respective threading of the 
whip-thread to a doup situated at the right-hand side of the ground-thread (pair). Both positions 
of doups to their respective ground heddle are mentioned as considered by the weaver standing at 
work in front of the loom. Letters of reference are selected correspondingly: R = rear-harness; 
G— ground-harness; d= heddle for ground-warp; e — heddle for whip thread ; t = passing of 
the whip-threads below ground-warp; D = doup-harness ; /= doup. Whip-threads are shown 
in full black, ground-threads are shown outlined. 

Fig. 975 shows the corresponding crossing as produced in the fabric by using the arrange- 
ment illustrated in diagram Fig 973. 

Fig. 976 shows the corresponding crossing as produced in the fabric by using the arrange- 
ment illustrated in diagram Fig. 974. 





Fig. 983. 

Diagrams Figs. 977 and 978 illustrate the ground plans of using two whip-threads for 
douping against two ground-threads. The following letters of reference are selected correspond- 
ingly: R = rear harness ; G = ground-harness; D = doup-harness; t = passing of the whip- 
threads below ground-threads; /= doup. Threads a and b in Fig. 977 = ground warp-threads; 
threads c and d in Fig. 977 = whip-threads. In diagram Fig. 978 the ground-threads are indi- 
cated by letters c and d and the whip-threads by letters a and b. 

Diagrams Figs. 979 and 980 show the corresponding crossings as produced in the fabric by 
the respective threadings of whip and ground-warp, illustrated in diagrams Figs. 977 and 978. 

Fig. 977 illustrates the threading of the whip-threads to a doup situated at the left-hand side 
of the ground-threads. Fig. 978 illustrates the threading of the whip-threads to a doup situated 
at the right hand side of the ground-threads. 

Figs. 981 and 982 illustrate two examples of Jacquard gauze produced upon principles pre- 
viously explained. 

Substitutes for the regular doups have lately been patented by C. A. Littlefield, consisting of 
a peculiar combination of metallic half-heddles. 






243 

Diagrams Figs. 983, 984, 985, 986 and 987 illustrate his invention. 

Fig. 983 is a front view of portions of a set of heddle-frame bars with the invention applied. 

Fig. 984 illustrates a vertical section of the bars of the heddle frame, and showing the posi- 
tion of the yarns before the crossing takes place. 

Fig. 985 is a similar view showing the half-heddles after the crossing takes place. 

Figs. 986 and 987 illustrate a modified form of needle, which for some fabrics are preferable. 

The present method of cross-weaving requires three common harness-frames for each set of 
doups. The middle frame is supplied with a specially-shaped half-heddle or needle formed of 
properly twisted wire or stamped from sheet metal. When the needle or half-heddle is made of 
wire, the latter is twisted to form an eye at the top end, through which passes the thread or 
threads required to produce the desired effect in the pattern woven. Below the twist which forms 
the eye the wires are separated in such a manner as to form a continuous slot or loop from near 
the eye to a point at or near the lower end, where the half-heddle is formed with an eye or loop 
adapted to receive the bar upon which the half-heddle is strung. A single bar only is used for 
the support of this half-heddle. Through the long slot or loop are passed other loop wires, 
forming half-heddles, there being two of this description to each one of the first named. These 




Fig. 985. 








Fig. 987. 



wires are secured, one on the right the other on the left, to the two outside heddle-frames at the 
top, being strung on the ordinary cross-bars of the harness-frames, the latter passing through 
suitably-sized loops at the top ends of the looped wires. 

To produce the desired pattern, the thread which is to be twisted or crossed about its adjacent 
thread must be drawn through the eye at the top of the lower half-heddle, and the thread or 
threads about which it is to cross are to be drawn in between the two upper loops or half-heddles, 
and in line with the thread pass.ng through the lower heddle-eye. When the harnesses are at 
rest, the warp-line is established so as to bring the yarn passing through the lower heddle-eye to 
a position from which it can be drawn up at the forming of the shed upon the desired side of the 
yarn about which it is to be turned or twisted. The crossing is effected by alternately operating 
the heddle-frames to which the upper half-heddle or looped wires are secured, the shed being 
formed by lifting the harness or shaft to the right or left of the frame to which the half-heddles or 
needles are secured at the bottom. The upper looped wire not lifted slides easily down the 
long slot or loop in the lower half-heddle, the latter and the upper half-heddle to which the lifting 
power is applied being drawn into line, thus forming a guide for deflecting the thread about which 
the crossing or tie is formed to the desired side of the needle or lower half-heddle. 



244 



Cross-Weaving for Chenille Fabrics. 

A method of cross-weaving other than the one derived by the douping arrangement is 
largely practised in the manufacture of low-grade Chenille as used for rugs, mosquito-netting and 
similar fabrics. 

In weaving these fabrics the ground-harness set and the douping set of harness are substi- 
tuted by using two horizontal wooden slats (shafts) of a sufficient strength, which have in a 
vertical position metal heddles (harness plates or needles) inserted, pointing towards each other. 
These harness plates are made of thin pieces of metal, each formed with an eye through it for 
the warp-thread (r in Fig. 988^) and each beveled at its end near the eye, as shown at q, in the 
same diagram, to form an angle to bring the passing points as near together as possible. 

The eyes q are formed by making an orifice through the harness-plates and bending the 
stock on each side of the orifice in opposite directions, so as to permit the warp-threads to pass in 
a straight line through the eye, and so that there will be but little friction of the warp in the eyes. 

In Fig. 988/; a front elevation of those parts of a loom essential to a clear understanding 
of the method of operation for these fabrics, is shown. (Warpbeam, lay and shuttle-movement 
are omitted.) 






Fig. 9886. 



Fig. 988c. 



Diagram Fig. 988^ illustrates a transverse sectional view. Letters for indicating the different 
parts in the diagrams are selected to correspond. 

Diagram Figs. 988a, 988$, 988;:, illustrate and explain the loom for cross- weaving as patented 
by Messrs. G. Oldham and Wm. Dixon. 

The frame shown is composed of the two side pieces, base, and top cross-piece, on the under 
surface of which latter are attached brackets for the roller, over which the cords or straps pass, 
to the ends of which cords or straps the heddle shafts are attached. They are guided at each end 
by staples g g, passing around the upright rods h h, and are adapted to be alternately reciprocated 
by the levers i i, pivoted to the base, and connected to the heddles by the connecting-rods k k. 
The upright rods at each end of the heddle-shafts are connected together at their upper and lower 
ends by plates or cross-pieces / /, and these plates or cross-pieces are centrally pivoted to the 
horizontal supports or arms, forming in this instance a part of the upright plates which are 
secured to the inner surface of the side pieces of the main frame. In a cross-brace, 0, is journaled 
the horizontal shaft/, contiguous to one of the plates /, which shaft is formed with opposite cams 
at its ends, so that the shaft when revolved will cause the cams to act alternately against the ends 
of the plate / and vibrate it, and through it and the rods h h and other plates, /, reciprocate the 
heddle-shafts f f laterally and horizontally at the same time they are reciprocated vertically, 



245 



which cause the harness-plates to cross the warp-threads r r over the filling-threads and to twist 
them together or cross them between the filling-threads. 

The cam-shaft p is revolved intermittently by the ratchet-wheel s, secured to one end of the 
shaft, and the pawl s', pivoted to the plate s 2 , which is pivoted at one end upon the shaft / near 
the ratchet-wheel s, and connected at its other end to the plate /, attached to the front hcddle- 
shaft, so the up and down movement of the heddle vibrates the plate s 2 and causes the pawl to 
turn the shaft / at each upward movement of the heddle. The plate s 2 is connected to the plate 
/, in this instance, by the pin t' entering a slot, t 2 , made in the plate /, to accommodate the 
lateral movement of the heddle. 

Another loom for weaving this chenille as used for rugs and curtains has lately been invented 
by Messrs. H. & C. Topham. Their improved method of operation is shown in diagrams Figs. 
989c? and 989^ and 990.7, 990$ and 99OA (Letters of reference for each diagram are selected to 
correspond.) Diagram Fig. 989a represents the end view of a loom, clearly showing its 
improvements. Fig. 989^ is a longitudinal section in the line 1 — 2, Fig. 989s. 

Figs. 990a, 990^ and 990^ are perspective diagrams (as used in the illustrations of their inven- 
tion), showing the prongs carrying the warp-threads in their different positions. 




OF^ 



Jam 




Fig. 989a. 



Fig. 9895. 



Referring to letters of reference: A A are the side frames of the loom, B is the main shaft 
and Cthe crank-shaft, D is the lathe, a is the breastbeam and b the cloth-roller, E is the warp- 
beam, e the warp-threads. 

On the two upright extensions F of the side frames is a rock-shaft, G, extending from one 
side of the loom to the other. This rock-shaft carries two arms, g g, having at their outer ends a 
comb //, provided with downwardly projecting prongs /i, which have eyes, i, at their outer ends, 
through which pass one set of warp-threads, e. Situated below the rock-shaft before mentioned, 
but having its bearings in the same upright extensions F F, is a rock-shaft, J, having two arms,//, 
which carry a comb, K, the prongs k of which project upward. These prongs are provided with 
eyes, /, through which the remaining warp-threads pass. Rock-shafts G and /are connected in 
such a manner that when the comb H is raised the comb K is lowered, and vice versa. 

Rock-shaft G derives its motion from main shaft B, as clearly shown in diagrams Figs. 989a 
and 9^9<5. To regulate the movement of the comb //the crank q is slotted and carries a crank- 
pin, u, adapted to be adjustably secured therein, so that the rod g 2 can be adjusted either on the 
crank q or arm g' . 

The lower rock-shaft /has also an independent sidewise movement, so that the prongs of the 
comb A' will have a sidewise motion as well as the vertical motion. Motion is given to the shaft 
/by a cam, S, driven from the main shaft. When the prongs of the combs are parted the side- 
wise movement of the lower comb and its shaft takes place 



246 

The operation is as follows, reference being made to Figs. 990*2, 990^ and 990c, as showing 
the prongs carrying the warp-threads in the different extreme positions during weaving. The 
eyes in the ends of the prongs of the combs are threaded with the warp-threads e, and the filling 
is thrown across, as shown in Fig. 990a, while the combs are in the position shown in that figure. 
The combs are then parted, as shown in Fig. 990$, which will tie in the filling previously inserted. 
Another pick is then made, as shown in Fig. 990^, after which a sidewise movement is given to 
the lower comb, which causes the warp-threads to twist around each other when the combs come 






Fig. 990a 



Fig. 990(5. 



Fig. 990c. 



together, as shown in Fig. 990c. The filling is then pressed towards the woven part of the fabric 
and another pick is made, throwing another filling across. 

Cross-weaving as Used for the Manufacture of Filtering-bags. 

Another kind of fabrics (similar to those previously mentioned), which contain the cross- 
weaving for their principle of construction, are those open-mesh seamless fabrics that are used for 
filtering-bags for saccharine liquids, etc. 

Diagrams Figs. 991, 992 and 993 are given to illustrate the method of operation for produ- 
cing these fabrics, as patented by B. Muench. 





1 
























Fig. 991. 



Fig. 992. 



Fig. 991 is the top view of part of a loom, showing the fixed and reciprocating frames; one 
of them has upwardly projecting needles and the other downwardly projecting needles. 

Figs. 992 and 993 are cross-sectional views of the harness part of the loom, showing the 
warps in their different positions. Letters indicating the different parts in the diagrams are used 
with reference to the following explanations as to construction of these fabrics. 

The operation is as follows : Two sets of warps, o p and m n, are used, one set, p, being 
used to form the bottom of the seamless fabric in the loom and the set m 11 to form the top of 
the fabric; the same filling being used for both sets of warps. The warps are passed through 
the eyes c of the front row of fixed needles, C, which project downward. The warps n are passed 



'247 



through the eyes c' of the rear row of fixed needles C , which project upward. The warps / are 
passed through the eyes/ of the needles F'm the front vertically-movable frame D, said needles 
F projecting upward, and the warps m are passed through the eyes/' of the needles F' in the 
rear vertically-reciprocating frame D' , said needles projecting downward. The warps o and p, 
which are passed through the eyes of the needles of the front fixed and vertically-reciprocating 
bar and frame, are the series for making the bottom of the seamless fabric, and the warps m and n, 
which are passed through the eyes of the needles in the rear fixed and vertically-reciprocating 
bar and frame, are the series for making the top of the seamless fabric. As shown in Fig. 992, 
the warps m, n and / are raised and the warps lowered. The shuttle W'\s thrown through the 
space between the warps when those warps are in the positions shown in Fig. 992, and when the 
shuttle has passed, the filling rests on top of and across the warps o. After the shuttle has thus 
been thrown, the warps o and p are crossed by the lowering of the frames D and £>', and thus the 
filling is held by warps o and p which form the bottom of the seamless fabric. When the warps 
are in the position shown in Fig. 993 (and the shuttle thrown), the frames D and D' then raised, 
the warps m and n are crossed, and the filling is held by warps m and n, forming the top of the 
seamless fabric, and so on. 




Fig. 993. 



In order to hold warps and filling in the position in relation to each other in the fabric, it is 
necessary that the warps be twisted after each shot. This twisting is obtained by reciprocating 
the frames E and E' laterally, for as each series of warps has part of its warps passed through 
laterally-reciprocating needles it is evident that by the shifting of the reciprocating needles such 
warps will become twisted. The frame D is shifted every time the filling has been shot between 
the warps o and p, and the frame D' is shifted every time the filling has been shot between the 
warps m and n. 

Cross-Weaving as Used for Producing Fast Centre Selvages. 

Cross-weaving is also used in producing fast centre selvages if weaving two or more pieces 
of a fabric at the same time in the loom. This method of producing such selvages finds extensive 
use in the manufacture of velvet ribbons, scarfs, and similar fabrics characterized by their narrow- 
ness. In dress goods and similar abrics, seldom more than two or three widths are put together 
to be woven in one width on the loom. 

In reeding for fabrics woven with fast centre-selvages, we must be careful to leave one, two 
or more empty dents in the place where the fabric has to be cut in strips, or separated in pieces 
after leaving the loom. 

In Diagrams 994 and 995, two specimens of such interlacing for headings are shown. In 
the same threads, B, shown in black, represents the whip-threads. Threads C, illustrated outlined 



248 

and shaded, represent the ground warp. Threads indicated A, and shown outlined, represent 
the ordinary woven part of the fabric. The filling is shown outlined in a horizontal position (D). 

Ground warp-threads Cand corresponding whip-thread B must be drawn in one dent. 

In Diagrams Figs. 996, 997 and 998, illustrations are given of the weaving of such fast centre 
selvages in double pile fabrics, woven side by side in a broad loom. The method of operation is 
patented by Messrs. Lister and Reixach. For forming two adjacent fast inner selvages, both in 
the upper and lower cloth in double-pile fabrics, and so as to form the upper cloth immediately 






Fig. 996. 



above the fast selvages in the lower cloth, two sets of needles of two needles each are required. 
The needles in the upper set are placed in a line with the needles of the lower set, and made to 
point downward, while those in the lower set are made to point upward. Both sets of needles 
are fixed in slides, which can be simultaneously moved up or down in a fixed frame. The needles, 
near to their points, have eyes formed through them, and through the eyes of the upper pair the 
binding-threads must be threaded which are to form the fast selvages in the upper cloth, and 
through the eyes of the lower pair the binding-threads which are to form the fast selvages in the 
lower cloth must be threaded. With these needles there are also employed two pairs of thread- 



249 

eyes, to which a lateral movement can be given from the low shaft. Through the upper pair pass 
two selvage-warps for the upper cloth, and through the lower pair two selvage-warps for the lower 
cloth. These two pair of eyes are set one above the other at such a distance apart as to leave 
space enough for a shuttle to pass to and fro between the warps threaded through them. The 
points of the upper pair of needles are likewise set at a distance from the points of the lower pair 
of needles. In the upward and downward movement of the needles their points are brought alter- 
nately above and below the selvage warp-threads with which the binding-threads, threaded through 





Fig. 997. 

the needles, are to be crossed, and when the needles are at one or the other end of their stroke the 
thread-eyes are made to shog sidewise, so that the warp binding-threads, which receive an up- 
and-down motion, may be brought to one side and then to the opposite side of the warps, which 
receive a sidewise movement, and the binding-threads and warps are thus twisted together with a 
false twist, which, in conjunction with the filling, links them together and forms a fast selvage. 

Fig. 996 illustrates a side elevation of mechanism required to be used witha single shuttle-loom 
for forming the fast inner selvages in the two cloths of a double pile fabric, showing the binding 
and warp-threads in position while weaving the bottom piece. 



250 



Fig. 997 is a side elevation corresponding to the previous one, except that the binding and 
warp-threads are shown in position while weaving the top piece. 

Fig. 998 is a side elevation of the selvage forming mechanism for a two-shuttle loom. 
Parts of the framework of the loom are illustrated, cut away in the three diagrams to show the 
needles more clearly. 

In Figs. 996 and 997 A and A x are selvage-warps, which are drawn from a reel or bobbin, 
B; but which also might be taken from the same beam as that upon which the other selvage-warps 
are carried, or from the main warp-beam. C C l are the binding-threads, which are drawn from 
a reel or bobbin, D. The warps A A 1 are threaded through the thread-eyes, to which a sidewise 
shogging movement is imparted. The binding-threads C C 1 are threaded through the eyes of the 
needles, to which an up and down movement is imparted. 

The operation is as follows: When the 
parts are in the position shown in Fig. 996, three 
picks filling are put into the bottom cloth, and 
the thread-eyes are during this time shogged 
sidewise a distance equal to the distance between 
the needles of each pair. Afterward the needles 
descend and three picks filling are put into the 
upper cloth. After this the needles rise and 
three picks of filling are put into the bottom 
cloth, and during this time the thread-eyes are 
shogged back into their former position, and so 
on continuously. In this way the fast selvage 
edges are formed in each cloth at a short distance 
apart from one another, and each cloth can be 
severed along the small space in between these 
two selvage edges. 

The mechanism shown in Fig. 998 for a 
two-shuttle loom necessarily differs somewhat 
from that shown in Figs. 996 and 997, because 
when two shuttles are thrown simultaneously it 
is necessary to open two sheds for the shuttles 
to be passed through. 

THE JACQUARD MACHINE. 

The Jacquard machine is required for the 
interlacing of fabrics in which a great number 
of ends of warps are bound differently in the 
filling. Every Jacquard machine can be divided into the following parts : 

I. The frame and the perforated board through which the neck-cords are passed. 2. The 
griffe and the necessary attachments for lifting the same. 3. The hooks. 4. The needles. 
5. The spring and spring-frame. 6. The needle-board. 7. The cylinder, hammer, and batten. 
8. The catches. 9. The cards. 10. The Jacquard harness. 

In Fig. 999 we give a clear understanding of the principle of the construction of a Jacquard 
machine by means of the sectional cut of one cross row in a 200 Jacquard machine, containing 
8 hooks, (representing an 8-row-deep machine), illustrating by it the arrangement of hooks, 
needles, griffebars, springs, frame for holding the latter, and the needle-board, e, 1st hook; f, 2d 
hook; g, 3d hook; k, 4th hook; i, 5th hook; k, 6th hook; /, 7th hook ; m, 8th hook. These 




251 

hooks are held in their required places by the eyes of the needles (see place v at hook i) through 
which the former are passed. 

The needles rest with their heads a to b, in the needle-board, extending outside, towards the 
cylinder, for about y 2 inch. The rear part of the needle — the loop — is passed between two bars 
of the spring-frame, n, p, and held by the latter firmly, but with sufficient play for a longitudinal 
motion for pressing towards their springs. The pin 0, is inserted for holding the springs in their 
places, requiring one pin for each vertical row of needles. If the heads of the needles are 
pushed backwards, in the direction of arrow, the hooks are also moved. If the needles are not 
pushed, the upper crooks of the hook will remain in position, as in drawing, over the griffebar; 
and raising the latter, will consequently raise every one of these hooks. 



■H-H-H-fl 




Fig. iooo. 



Fig. iooi. 

Therefore, if a blank card is pressed against the 208 needles of the machine, used for present 
illustration, all the needles and hooks will be pushed back out of the way of contact With the 
griffebars, thus causing an empty lift when they are raised ; while by pressing with an empty 
cylinder, or with a card containing as many holes as the machine has needles, and so placed that 
the holes are exactly opposite the needles, none of them would be moved, and each hook would 
remain vertical over its griffebar; and raising the griffe will lift every hook. 

The griffe which has its section of the different bars represented in Fig. 1000, is shown in its 
top view in Fig. 1001. In the drawing, the dark-shaded places, marked f, are the hollow places 
through which the screw is fastened to the plunger. 








The cylinder around which the cards are working (for operating the needles and these in 
turn the hooks, neck-cords, leashes and warp-threads) is carried in the batten. This batten has 
sufficient vibratory motion to enable it to move the required distance away from the needle-board. 
After coming in contact with the catch, it still moves until the cylinder has performed a complete 
turn. The cylinder is steadied in the required position by the hammer pressing, by means of 
a spring, towards the lantern from below. Fig. 1002 represents the cylinder with the lantern for 
turning the same, by means of the catches mentioned before. 

The raising of the "griffe," which in turn also operates the other parts of the Jacquard machine, 
as previously explained, is generally done by means of a lever arrangement. Fig. 1003 represents 
the perspective view, of a 400 single-acting Jacquard machine (W. P. Uhlinger, Philadelphia, builder). 



252 



Fig. 1004 illustrates the " Rise and Fall Shed Jacquard " as built by the Geo. W. Stafford 

Manufacturing Co., Providence, R. I. 

The Jacquard cards have, for regulating the 
required raising and non-raising of the hooks, 
holes punched so as to allow their respective 
needles to penetrate into the cylinder holes and 
are interlaced in an endless arrangement; hence, 
one card is brought after the other in rotation 
towards the needles. 

If using a great number of cards in a set, 
they are made to fold into a " rack." This is done 
by attaching a wire 1 to 1^ inches longer than 
the cards, at the junction of say every 12th to 
20th card. (See c, Fig. 1005, between cards 
indicated by a and 6.) 

Modification of the Single-Lift Jacquard Machine. 

During the past few years various modifications in building Jacquard machines have been 




Fig. 1003. 




Fig. 1004. 
introduced. The object of this has been either the simplifying of. designing 
or the saving of card paper and labor for special 
fabrics, as in the " Ingrain Carpet Machines," 
the "Brussels Carpet Machines," etc. 

Again, the item of "speed," and conse- 
quently more production in cloth for a given 
time, in damasks and similar fabrics, has been 
satisfactorily solved by the construction of the 
"Double-Lift, Double-Cylinder Jacquard Ma- 
chine." Another principle of a modification Fig. 1005. 



and card stamping 



253 



over the single-lift Jacquard machine is to be found in the "Double-Lift, Single-Cylinder 
Jacquard Machine," which has for its object the saving of the warp by operating each individual 
thread only when required to, by the changes from up to down, or vice versa, in the design or 
weave, etc. These machines are, in their principle of construction and method of operation, 
individually explained and illustrated on pages 67 to 72 in my treatise on "The Jacquard 
Machine." 

Card Stamping.* 

As mentioned previously, holes are punched in each individual card, according to the design. 
This is done for each row at one stroke or revolution of the piano card-punching machine. 

Fig. 1006 illustrates the perspective view of such a machine (operated by belt-power), while 
Fig. ioo6« represents the top view of the " head" (cover taken off). 

In the same, the small open spaces for holding the punches for stamping the holes in the 
cards for the needles, as well as the large opening for holding the punch for stamping the peg 
holes, are clearly visible. 





If several sets of cards of one design are required for starting a corresponding number of 
looms, and the first set has been produced by the piano machine, exact duplicates can be obtained 
by means of the " Repeating Machine." In this machine the entire card is duplicated at one 
stroke. 

The Jacquard Harness. 

To the lower end of the hooks in the Jacquard machine the neck-cords are adjusted. The 
latter are passed separately through one of the corresponding holes of the perforated bottom 
board. To these neck-cords are fastened the leashes of the Jacquard-harness, about one-half to 
one inch above the frame containing the rods which guide the neck-cords vertically, as the hooks 
are raised and lowered. 

The different harness-cords are threaded through the "comber-board," or the "journals," in 
various ways, and are called "tie-ups." After the harness-cords are threaded the heddles are 
adjusted. 



*In a chapter on "Preparing and Stamping of Jacquard Cards," comprising pages S5 to 102 of the 
author's treatise on "The Jacquard Machine," a thorough and complete description, conspicuously illustrated 
(45 illustrations), of the above subject will be found. 



254 

In my treatise, already alluded to, the different methods of "tying-up of Jacquard harness" 
have been classified as follows : 
I. — Straight-through tie-up. 

II. — Straight-through tie-up for repeated effects, in one repeat of the design. 
III. — Straight-through tie-up of Jacquard loom, having front harness attached. 
IV. — Centre tie-up. 

V. — Straight-through and point tie-ups combined. 
VI. — Straight-through tie-up in two sections. 

VII.— Tying-up a Jacquard harness for figuring part of the design with an extra warp. 
VIII. — Straight-through tie-up in three sections. 
IX. — Point tie-up in three sections. 
X. — Combination tie-up in two sections. 
XI. — Straight-through tie-up in four sections. 
XII. — Tying-up of Jacquard looms with compound harness attached. 
XIII. — Tying-up Jacquard looms for gauze fabrics. 
XIV. — Tying-up harness for carpets. 

Each of these methods of tying-up is treated in a thorough manner and is fully illustrated 
by over one hundred special illustrations. 



The Comber-board and Methods of Figuring for it. 



The comber-board 



is placed in the Jacquard-loom for the purpose of guiding the harness- 
cords from the neck-cords to their 
respective position as required by the 
fabric for operating the heddles (to 
which they are adjusted on their 
other extreme end.) There are two 
kinds of comber-boards in use. a. 
Comber-boards made of a solid piece 
of material, either wood or porcelain, 
or constructed by using wires crossing 
each other and adjusted in a frame 
(see Fig. 1007). b. Comber-boards 
made in strips of either wood or 
porcelain and adjusted afterwards in 
a wooden frame (see Figs. 1007a and 
1007^). 




Fig. 1007 



Comber-boards Made of a Solid Piece of Material. 

Before ordering a comber-board, it is necessary to know the texture of the fabric in the 
loom, and also the number or size of the machine to be used ; for the number of holes per inch 
in the comber-board is regulated by this. Afterwards, we may, if we choose, arrange the 
number of holes in depth of the comber-board, according to the number of griffe-bars in the 
machine (guided by the fabric to be made). We may have eight griffe-bars in the machine, and 
arrange the comber-board 4, 6, 8, 10, 12 rows deep; or we may have 12 griffe-bars in the 
machine, and arrange the comber-board 12, 10, 8, 6, 4 rows deep. 

Rule: The number of holes to one inch in the comber-board must equal the texture of the 
fabric to one inch in loom. 

The width and depth of the comber-board are regulated by the width of the cloth required 



255 

and by the design to be used. The greater the number of rows in depth the closer they must 
be ; the same is true of the width. It is necessary to take care not to have the comber-board 
too deep, as the consequence would be a bad shed ; furthermore, we must not have the holes too 
close together, as in a high texture this would make trouble in the weaving through the catch- 
ing of the heddles with the warp, and also cause useless chafing of the warp-threads and the 
heddles. 

The Changing of Solid Comber-boards for Different Textures. 

In Jacquard work we generally use the same texture, or as near as possible, as the loom is 
tied up for ; but changes are unavoidable. If we must reduce the texture of the fabric in a Jac- 
quard loom tied up with a solid comber-board, we must also reduce proportionally the number of 
,hooks and needles used in designing, and hence the number of heddles used per inch. These 
heddles will thus be left empty when drawing in the warp. To accomplish this, lift the full 
machine and throw the hooks not to be used from the griffe-bars, lowering in this way every mail 
which is not to be used. Sometimes there may be only one, two, three, or four hooks to be 
thrown off, on account of the design. At other times it may be necessary that one-eighth, or one- 
fourth, or even one-half, of the whole number shall be dropped for this purpose. 



Comber-boards Made in Strips and Adjusted Afterwards in a Frame. 

By these comber-boards which are used to a great advantage on narrow loom work up to 
36-inch fabrics, we can change the texture for the fabric ; for the strips composing the comber- 

Fig. 1007a. 




Fig. 10075. 

board may be drawn apart, thus changing the high texture to lower. To give a clear under- 
standing, Figs. 1007a and 1007b are given. 

Fig. 1007b represents an 8-row deep comber-board, a, b, c, d, composed of 10 strips which 
are set close together. By examining each strip 5 cross-rows of holes will be found, making the 
whole number of holes 400. 

Suppose this comber-board is intended for a texture of 100 ends per inch; this will give for 
the width of the fabric (shown below, i, k to /, m) 4 inches. 

In Fig. 1007a, the comber-board is arranged for a texture of half as many ends, or 50 holes 
per inch, and the 10 strips are arranged accordingly; the empty places between the strips are of 
same size as the strips themselves, and the fabric design below the comber-board is arranged to 
correspond. 



256 



GOBELIN TAPESTRY. 



Tapestry is neither real weaving nor true embroidering. Though wrought upon a loom and 
upon a warp stretched out along its frame, there is no filling thrown across the threads with a 
shuttle, but the filling is worked with many short threads of various colors, put in with a needle. 
Tapestry runs back into remote antiquity. The Greeks and Romans used tapestry for cur- 
tains and other hangings; and the use of it for like purposes was common throughout Europe in 
the succeeding ages. "Arras" was the usual name for hangings of this kind, owing to the excel- 
lence of the work produced in that town in England. "French tapestry" has Jong been famous 
also. Francis I. brought Flemish workmen to Fontainebleau, and the establishment was kept up 
by his successors. A hundred years later, Colbert, the celebrated minister to Louis XIV., took 
under his protection a manufactory which had been set up by two brothers, of the name of 
"Gobelin," originally dyers; and in a very short time the productions of the "Hotel royal des 
Gobelins" were universally admired. The well-known tapestry which for many generations hung 
upon the walls of the House of Lords, London, England, and which were destroyed by the fire 

of 1834, were Flemish, and executed in the reign of 
Queen Elizabeth to commemorate the destruction of 
the Spanish Armada. But the culminating point in 
the history of tapestry was when Rafaelle was employed 
to make the designs for a series of Scripture subjects, to 
^r be hung upon the walls of the Sistine chapel in Rome. 

m._ J IvJ \ I fL™r_J_ . Tapestry work is the most costly and effective of 

B ' II ' LDj '~l H the textile manufacture. We will next explain the 

4 pBfPf} h ,,. "1 F%fl fwyyimj pMatjWSj fcsssjs' 

method of operation as observed in the manufacture of 
these fabrics during the last three centuries. (Older 
kinds of tapestries, for example the well-known 
" Bayeux tapestry" were wrought by the needle on the 
surface of the cloth and thus are actually produced by 
embroidering). As mentioned before, the warp-threads 
are stretched in a frame (loom) in a vertical position for 
the weavers. The method of interlacing the filling 
into the before mentioned warp is done after the prin- 
ciple of the plain weave by means of various numbers 
of colored filling-threads each guided by a needle. 
Fig. 1008. These different colors of filling are arranged after a cer- 

tain design. For this purpose warp-threads in the required position are pulled by the weaver 
towards himself with one hand, and with the other hand the required needle (bobbin) block con- 
taining the color of filling as called for by the design is inserted. Supposing in the present example 
the weaver pulls towards himself the uneven numbered warp-threads (1,3, 5, etc.) with the left hand, 
and inserts the block containing the required colored thread in the direction from left to right, by 
means of the right hand. Next he pulls the even numbered warp-threads (2,4, 6, etc.) and returns 
the block before mentioned. In this mannet the weaver continues to entwine one color until a 
certain part of the design requiring this color is finished. He takes next another color as required 
by the design and finishes, similar to the before explained method, any place where this color is 
required. In this manner he continues to treat each color as required by the design. The beat- 
ing up of the filling so inserted is done by means of a comb. Taking the fabric into consideration 
in its vertical position it will be seen that there is no interlacing from one color effect to the other; 
therefore these effects must be sewed together after the embroidering is done. 
Diagram Fig. 1008 illustrates the method of operation for such a Gobelin. 




APPENDIX. 

Analysis of the Various Textile Fabrics and Calculations Necessary for their 

Manufacture. 

The analysis of textile fabrics forms a prominent part of the knowledge required in a com- 
petent designer and manufacturer. In addition to theory a practical experience in the construc- 
tion of the various fabrics is likewise called for. Thorough analysis consists not only in 
"picking out" the arrangement of the interlacing of warp and filling (the weave), but also in ascer- 
taining the materials of which both systems of threads are composed, the process such raw 
materials must be subjected to before the required yarn or thread is produced, necessary for the 
construction of the fabric on the loom, as also the various processes commonly designated as finish- 
ing. 

The analysis of a fabric is not always required for duplicating the fabric, as in some in- 
stances it has for its main object only one of the previously mentioned points, as to materials used, 
amount of twist in yarn, process of finishing necessary, etc. But whichever special point Is re- 
quired to be ascertained, or should a complete reproduction of a given sample be required, it is al- 
ways best to have a clear understanding (or analysis) of all points. For example : A knowledge 
of the weave will be the guide for a special analysis as to the materials to use — the amount of twist 
to put into the yarn — or the finish required, for the harder a weave " takes up" the stronger the 
warp yarn must be (as to quality of material to use, or amount of twist to be put into the yarn) 
so as to resist the amount of wear incurred during the weaving. The weave employed in inter- 
lacing the warp and filling, and the raw materials used in the manufacture of the yarn, will influ- 
ence the process of finishing required, etc. 

The complete analysis of textile fabrics can thus be classified under the following eight points: 
I. Ascertaining the Weight per Yard and Ends per Inch in Warp and Filling for the Fin- 
ished Fabric from a Given Sample. 
II. Ascertaining the Weave. 

III. Ascertaining Raw Materials Used in the Construction of Textile Fabrics. 

IV. Ascertaining the Texture Required in Loom for a Given Fabric Sample. 

V. Ascertaining the Arrangement of Threads in a Sample according to their Color and 
Counts for the Warp and Filling. 

VI. Ascerta ning the Sizes of the Yarns, or their Counts, as Necessary to be Produced for 
the Reproduction of the Given Sample. 

VII. Ascertaining the Weight of the Cloth per Yard from the Loom. 
VIII. Ascertaining the Process of Finishing Necessary, and Amount of Shrinkage of the 
Fabric during this Process. 

These eight points, when carefully considered, will in most cases produce the required object, 
"a thorough analysis " or a thorough understanding of the construction of the fabric with which 
the manufacturer has to deal. 

I. Ascertaining the Weight per yard of the Finished Fabric, and its Finished Texture 
(Ends per inch in Warp and Filling). 

Usually the sample given to the designer for analysis is less in length than one yard (of the 
finished fabric), and generally narrower than the finished width of the cloth ; oftentimes only one 
or two square inches, or even less, being furnished. Should, however, one or more yards of a 

(257) 



258 

fabric, having its regular width be given, it is easy for the designer to solve the question by 
weighing the cloths given and dividing the weight thus ascertained by the number of yards in 
the sample. The result will be the weight per yard of the finished fabric. But when the size 
of the sample submitted is small (less than one yard) the weight per yard must be found by 
figuring in proportions. 

Rule for Ascertaining from a Small Sample {finished) the Weight of the Fabric in Ounces for One 

Yard. 

Cut your sample to a known size, and divide the number of square inches thus derived into 
the number of square inches which one yard of the fabric will contain. 

1944 square inches f wide fabrics = 54 inches wide. 
972 " " -I- " " 27 " 

Multiply the result with the weight in grains of your sample and divide the product by 437^ 
which will give you the ounces per yard for the fabric in question. 

For example : Suppose you have a f wide fabric. The sample cut, or stamped, with a die, 
3 inches by 3 inches equals 9 square inches. Suppose the weight of these 9 square inches is 
25 grains. 

Question: Required the weight in ounces of one yard of cloth, being f wide? 

Answer: f or 54 inches wide fabric 54 x 36 or 1944 square inches. 

1944 -^ 9 = 216 X 25 = 5400 -=- 437.5 = 12.34 oz.; thus the weight of the fabric is 12^ oz. 

Another example. Take a £ wide fabric. The sample cut, or stamped with a die 3 inches 
by 4 inches, equals 12 square inches. Suppose the weight of these 12 square inches is 28 grains. 

Question : Required the weight in ounces of one yard of cloth to be 27 inches wide. 

Answer : 27 inches wide fabric = 27 x 36 or 972 square inches. 

972 -^-12 = 81X28 = 2268 -*- 437.5 = 5.18 oz., weight of fabric per yard. 

Table for Ascertaining the Number of Square Inches in any Fabric with a Width of 18 Inches 

to 54. Inches. 



Width of Fabric 
in inches. 


Number of 
square inches 
in one yard. 




Width of 
in inc 


Fabric Number of 
° square inches 
in one yard. 


18 


648 


37 


1332 


19 


684 




38 


1368 


20 


720 




39 


1404 


21 


756 




40 


1440 


22 


792 




4i 


1476 


23 


828 




42 


1512 


24 


864 




43 


1548 


25 


900 




44 


1584 


26 


936 




45 


1620 


27 


972 




46 


1656 


28 


1008 




47 


1692 


29 


1044 




48 


1728 


3° 


1080 




49 


1764 


31 


1116 




50 


1800 


S 2 


1152 




51 


1836 


33 


1188 




52 


1872 


34 


1224 




53 


1908 


35 


1260 




54 


1944 


36 


1296 




60 


2160 



To Ascertain the Finished Texture of the Submitted Sample. 

For this purpose unravel a few ends of the warp and filling of each system on one side of 
the sample, and count the number of threads one inch contains (in each system). In the places 



259 

from which the filling has been extracted the texture for the warp will be found, and in the places 
from which the warp-threads have been drawn the filling texture will be found. It is best to 
ascertain the texture for each system of threads in at least two different places, so that if found 
to be the same it will serve as a test for correct work. If found not to correspond, it will require 
a third counting of the respective threads per inch, so as to ascertain which of the two previous 
countings is correct. Fabrics having a fancy arrangement with regard to their threads frequently 
require to have the number of threads ascertained in more than one inch. In some fabrics the 
texture must be found by counting the number of threads in one repeat of the pattern and then 
dividing this result by the number of inches these threads occupy in the fabric. 

Example. — 180 threads of warp in one repeat of the pattern occupy 3^ inches space in the 
finished fabric. Question: Find the texture (average). Answer: 180 -^ 3^ = 48 threads, tex- 
ture of warp in given sample. 

II. Ascertaining the Weave. 

This part of the analysis of a fabric is based first of all upon a thorough comprehension of 
the theory of constructing the various weaves for single cloth, double cloth, etc. It also requires, 
in dealing with heavy fulled fabrics, or fabrics having the face filling broken during the process of 
finishing, a considerable amount of patience. 

Ascertaining the weave implies to the designer that he is to solve from a sample the manner 
in which both systems of threads, composing the fabric, interlace each other, and this is techni- 
cally known as the "picking-out" process. An experienced designer will in most cases ascertain 
the weave necessary for producing a given sample by a mere glance at it, while in fabrics having 
fine counts of silk or cotton yarn the microscope will assist him in designating the weave without 
"picking-out." But as such skill can only be arrived at after years of practice and experience we 
will define the "picking-out" process for the benefit of the unskilled. 

If it is required to ascertain the weave in a fabric having a nap on its surface, the nap must 
be carefully removed by singeing it off by holding it over a flame, care being taken not to burn 
the threads. Next carefully remove the burnt refuse adhering to the structure with a sharp knife. 
(It is well to have a sharp knife or razor always at hand for this purpose.) 

Always endeavor to get the samples for "picking-out" sufficiently large, containing at least 
two or three repeats of the weave, warp and filling-ways, in excess of the amount of cloth 
necessary for liberating threads in each system, so as to get the proper starting-point for commen- 
cing to pick-out. If a sample is submitted for "picking-out" which does not contain a complete 
repeat of the weave, dissect the amount on hand and finish the complete weave in accordance with 
the instructions given in the theory of constructing weaves. The experienced designer, 
when he gets a sample for dissection, readily understands which system of threads are the warp 
and which the filling, but to the inexperienced this will prove the first difficulty which will have 
to be mastered. To aid in this the following rules are given, which if carefully considered (with 
reference to the sample given) must greatly assist the novice in solving the problem. 

If the sample submitted for " picking-out " contains a part of the selvage, the latter will 
readily indicate warp from filling, for the selvage-threads always run in the direction of 
the warp. 

If the threads in one system are "harder" twisted than in the other, the hard-twisted threads 
are generally the warp system. 

If the sample submitted for analyzing has what is technically known as a "face-finish" 
(kersey, beaver, doeskin, broadcloth, etc.), the direction of the " nap" indicates the warp. 

The "counts" of yarn found used in each system will often assist in ascertaining which is the 
warp and which is the filling, for in most instances the yarn used for warp is of a finer number 
than the filling. 



260 















t 


• — 








:: 


a 






















'.:% 






t: 


















-■ 


:Z. 




: 


















i;;;J|: 




. - 


r 


















:.'.::■ 










m 






V; 


'V 


- ■■':. 




;::- 












ll-i 








■'"'-:: 










I!'-"'- 


D. 



If the fabric has cotton yarn for one system of threads and woolen for the other (as in union 
fabrics), the cotton yarn is generally the warp yarn. 

If in the sample submitted for analysis the one system of threads is found to have been sized 
or starched, and not the other, the former is the warp. 

If the sample contains " reed marks" (or im- 
JB. perfections known to the weaver as being caused 
only by the warp system), such imperfections 
readily characterize the respective systems of 
threads. 

Another guide for distinguishing the warp 
I ■ I from the filling is found in the "style" of the 
respective fabrics submitted for "picking out." 
In fabrics having a striped character, or check 
effects in which the one direction of the lines is 
prominent compared with the others, the direc- 
tion of the stripes, or the prominent lines in 
the check, indicate the warp system. 

In fabrics composed of two systems of filling (face filling and backing) and one system of 
warp, the heavy and soft-spun filling, known as the " backing," indicates itself, and thus the system 
of threads. 

Fabrics are generally dissected by in- 
vestigating the method of interlacing the 
filling into the warp; some fabrics require 
their weaves to be dissected by ascertaining 
the interlacing of successive warp-threads 
in the filling, such as the corkscrews, diago- 
nals and similar fabrics. Weaves in pile 
fabrics, such as velvets, Astrakhans, etc., are 
ascertained the quickest by analyzing the 
body structure. 

The instrument required for "picking 
out" is a strong needle with a sharp point. 
In some instances the microscope is found 
to be of much service. The work of picking 
out a sample is most readily accomplished 
by proceeding as follows :* 

Clear off the nap or fibres on the sur- 
face of the sample as previously mentioned. 
In fabrics without a nap this is, of course, 
not required. Next unravel sufficient filling 
on top of the fabric, and warp on the left 
hand side, to produce two fringed edges of 
say about % to % inch in length. If you 
should desire to save, from the sample sub- 
mitted for analysis, as much as possible, 
make straight cuts with the scissors at a distance of about y 2 to ^ inches from where you want 
to stop dissecting threads This procedure is illustrated by diagram Fig. 1009. A-B-C-D, sample 
submitted for "picking out." Arrow O direction of warp. Arrow O l direction of filling. 
*Use picking out of the filling from the structure in the example given for explanation. 




Fig. ioio. 






261 




The cuts in the fabric are shown at the places indicated by e and f. Letter S indicates the 

place where the first warp-thread and the first pick meet — the point for commencing to " pick-out." 
After the sample is prepared according to the illustration just given, raise the first pick about 

ft of an inch with the "picking-out needle." See Fig. ioio. 

Place the sample in the left hand asshown in diagram 101 1, next ascertain the arrangement of 

interlacing pick number I, warp-ways, until repeat is obtained. 

Every time a warp-thread is found situated 
above the filling, put a corresponding indication 
on the respective square of the designing paper 
(with pencil marks or prick holes with the 
needle), whenever you find the filling covering 
(floating over) one, two or more successive 
warp-threads, leave correspondingly one, two 
or more successive squares empty in the lateral 
line of small squares upon the designing paper. 
After the intersecting of number I pick 
has been clearly ascertained liberate this pick 
out of the fringed warp edge and duplicate 
the procedure with pick number 2, to be fol- 
lowed by picks 3, 4, 5, etc., until the repeat is 
obtained. If dealing with a soft-spun filling 
yarn be careful in raising it, to avoid breaking 
the thread ; also be careful that after the 
interlacing of the pick has been ascertained, it 

is entirely removed so that no small pieces of the thread remain in the fringed part of the warp ; 

for if such should be the case it might lead to mistakes in examining the next adjoining pick. 

III. Ascertaining Raw Materials Used in the Construction of a Fabric. 

In most cases an examination of the threads liberated during "picking-out" with the naked 
eye will be sufficient to distinguish the material used in the construction of the fabric yet sometimes 
it is found necessary to use the microscope or a chemical test for their detection. For example : Tests 
might be required to show whether a certain thread is all wool or whether a certain thread is 
all silk, etc. For solving such questions, the following methods are given : 

A common and ready method for ascertaining the difference between animal and vegetable 
fibres is to burn some of the threads of yarn in a flame. The vegetable fibre is composed of 
carbon, hydrogen and oxygen, while the animal fibre, in addition to these, contains nitrogen. 
By burning, the threads used in testing the first mentioned fibre will result in carbonic acid and 
water, while those of the latter, or of animal fibre, result in combinations containing nitrogen which 
element readily makes itself known by its peculiar smell or disagreeable odor similar to burnt 
feathers. Another point which it is well to note is the rapidity with which the thread com- 
posed of vegetable origin burns as compared with the burning of the thread having an animal 
substance for its basis. In the latter case, only a little bunch of porous carbon forms itself at the 
end submitted to the flame, and it does not form a flame as in the case of the former. As in 
some instances these two tests will be found unreliable, a more exact analysis may be required. If 
so, proceed after one or the other of the following formulas: 

To Detect Cotton or other Vegetable Fibre in Woolen or Silk Fabrics. 

Boil the sample to be tested in a concentrated solution of caustic soda or potash, and the 
wool or silk fibre will rapidly dissolve, producing a soapy liquid. The cotton or other vegetable 



262 

fibre therein will remain undisturbed, even though boiling in weak caustic alkalies for several 
hours, care being taken to keep the samples below the surface of the solution during the opera- 
tion. If during this steeping process it is exposed to the air, the cotton fibre becomes rotten, 
especially when the exposed portions are also at the same time brought under the influence of 
steam. (Any cotton fibres remaining from the testing, if colored, may be bleached in chlorine 
water, and afterwards dissolved with cupro-ammonia.) 

Prof. E. Kopp gives the following test : " Wool is only soluble in cupro-ammonia by the 
aid of heat. Concentrated acids, such as sulphuric, nitric, or preferably hydrochloric, act in the 
cold upon silk, but not on wool. The dissolving properties of cupro-ammonia on all vegetable 
fibres, make it one of the most reliable of tests. Cupro-ammonia is prepared by suspending 
strips of copper in concentrated ammonia in a large flask, tightly corked and occasionally shaken, 
so as to bring the metal in contact with the oxygen of the air. By degrees a tolerably concen- 
trated solution of oxide of copper in ammonia is obtained which dissolves cotton, and other 
vegetable fibres, leaving animal fibres untouched." 

To Detect Silk from Wool or the Vegetable Fibres. 

Prof. Hummel gives the following process in his treatise on "The Dyeing of Textile Fabrics:" 
" The best solvent for silk is an alkaline solution of copper and glycerine, made up as follows : 
Dissolve 16 grams copper sulphate in 140-160 c. c. distilled water, and add 8-10 grams pure 
glycerine (Sp. Gr. 1.24) ; a solution of caustic soda has to be dropped gradually into the mixture 
till the precipitate at first formed just re-dissolves ; excess of NaOH must be avoided." This 
solution does not dissolve either wool or the vegetable fibres and thus serves as a distinguishing 
test. 

Still another method is given, as follows: Concentrated zinc chloride, 138 Tw. (Sp. Gr. 1.69) 
made neutral or basic by boiling with excess of zinc oxide, dissolves silk, slowly if cold, but very 
rapidly if heated, to a thick gummy liquid. This reagent may serve to separate or distinguish 
silk from wool and the vegetable fibres, since these are not affected by it. If water be added to 
the zinc chloride solution of silk, the latter is thrown down as a flocculent precipitate. Dried at 
230 to 235 F the precipitate acquires a vitreous aspect, and is no longer soluble in ammonia. 

Rules for Arranging the Fabric to be Tested and Methods for Ascertaining the 
Various Percentages of Each Fibre Composing the Thread or Woven Cloth. 

Cut the sample to be tested to a known size with a sharp pair of scissors, or stamp out the de- 
sired quantity with a die, of which you know the exact size. Always use the largest sample avail- 
able and be very accurate in cutting to measure. Next weigh the sample upon a scale (of great ac- 
curacy) and make a careful memorandum of its weight; then submit the sample to one of the 
above mentioned tests (adapted to the material to be tested), and dry the remaining fibre. Weigh 
the latter after thoroughly dry and deduct the weight from the gross weight previously obtained. 
The remainder will represent the weight of the fibre dissolved by the test. 

" The amount of each kind of fibre in sample is in proportion to the percentage of each fibre 
m a full piece of cloth." 

Example : Required to ascertain percentage of cotton and wool fibres in a fabric. 

Sample stamped with a die 2X4 inches = 8 square inches weighs 24 grains. Suppose 
the " caustic soda " process for testing is used and the refuse of cotton, dried, weighs 8 grains. 
Hence : 

24 grains gross weight of cloth 8 square inches. 
8 " weight of cotton in 8 square inches. 

16 " " " wool " 8 square inches. 



263 

Or, 8 grains cotton in 24 grains gross weight = 33 ^3 per cent, of 100. 
16 " wool " 24 " " " = 66^ " " " 

24 " 100 

Answer: The cloth given for testing in the present example contains 33^ per cent, cotton 
and 667^ per cent, wool, or, one-third of the mixture is cotton fibre and two-thirds wool fibre. 

IV. To Ascertain the Texture of Fabrics Required in Loom. 

Of all the different points required to be ascertained the present is probably the most difficult 
to master, in fact, it can only be accomplished after considerable practical experience. ' To mate- 
rially aid the novice in this work, it is strongly recommended that he provide himself with a col- 
lection of different samples of finished fabrics with the given amount of shrinkage of each during 
finishing. Such a collection he can afterwards use as a guide for ascertaining the texture of 
similar fabrics. 

The Shrinkage of a Fabric in Width from Loom to Case (or Finished State). 

The "setting" of a fabric in the loom, or the reed-space the warp must occupy during the 
process of weaving, compared to the width of the fabric when finished (ready for the consumer) 
is regulated by the raw material used, the manner in which the yarn has been produced, and the 
different processes the fabric is to be subjected to during finishing. 

Some kinds of woolen fabrics require a large amount of fulling, hence must be "set" wider 
in the loom than fabrics having a similar material for their basis but requiring very little or no 
fulling. For example, billiard-cloth must be "set" nearly twice as wide in the loom as its finished 
width, while beavers, kerseys, and similar woolen fabrics need to be "set" but about one-half 
their finished width wider, and fancy cassimeres from one-quarter to one-third. Worsted or 
worsted and cotton dressgoods mostly require but very little wider "setting" in the loom than the 
finished width of the fabric calls for. The weave itself has also a considerable influence in regu- 
lating the shrinkage. 

These general rules are worthy of consideration : The finer the quality, and the softer the 
filling is spun, the more the cloth will shrink in width. If the filling is hard twisted, and of a 
coarse nature, the cloth will have but little tendency to shrink. If the weave has a wide stitching, 
it will produce a narrower fabric than when the texture is more closely intertwined. The 
less tension put on the warp during weaving ("take-up") the narrower the fabric will be. In 
comparing woolen and worsted yarn, the former produces fabrics which shrink more in width 
than fabrics made with worsted yarn. This result, when produced from the same raw material, is 
based upon the two different processes of "carding" or "combing" the wool fibre. By carding 
the wool every fibre, through mixing up in every shape and direction, is twisted in itself, and such 
fibres always endeavor to resume their original position. By worsted combing the wool fibres are 
separately united, besides being combined in one thread. Each fibre is its own, as placed in posi- 
tion for forming the thread, and thus such a thread remains undisturbed in the fabric. The fabric 
constructed out of such threads will keep wider than if using a wool-spun yarn of equal size and 
under equal conditions. 

Shrinkage or Take-up of Warp During Weaving. 

We must also carefully consider the amount of take-up the warp is subjected to during 
weaving, and the amount of shrinkage in length the cloth undergoes during the finishing process. 
The latter point will not come into consideration in the case of fabrics which are ready for the 
market when leaving the loom. The first mentioned shrinkage, or the "take-up" of the warp 
during weaving, is different, and varies from fabrics requiring two, three, four or more 



264 

times the length. in dressing than the fabric length woven, to fabrics in which the warp-length 
dressed equals the fabric length woven or, if any difference, to be very little. 

The points given in the previous chapter on the shrinkage in width of a fabric also apply to 
the shrinkage of the fabric in length. The weave and the number of picks per inch are the chief ob- 
ject in regulating the take-up of the warp during weaving, for example, a fabric interlaced with a far 
stitching satin weave (say 8 to 12 harness) will "take-up" very little if any at all, unless we use an 
unusually high texture of warp and filling. Thus, the oftener a warp-thread intersects the filling 
in a given distance the greater the amount of take-up required for the warp. For this reason 
fabrics which have two systems of weaves combined — suppose i-inch wide plain weave 
to alternate with a 2-inch wide 8-harness satin = 3 inches repeat, 10 repeats in width of fabric — re- 
quire two beams — one beam to carry the warp for weaving the plain, and one beam for carrying the 
warp for weaving the satin. This also applies to worsted fabrics made with woolen back-warps. 
The amount of shrinkage in warp pile fabrics for its pile-warp is considerable. It is regulated by 
the height of pile required and the amount of wires or loops per inch. Such fabrics may often 
require their pile-warp dressed four to eight times longer than the piece measures woven. To 
ascertain the exact percentage of " take-up " for a fabric needs experience and can only be mastered 
after thorough study of the theory of constructing the different weaves, as well as the nature of 
the different raw materials, with their various methods of preparations for the yarns, and the vari- 
ous processes of finishing. 

V. Ascertaining the Arrangement of Threads in a Sample, According to their Color 
and their Counts, for the Warp and Filling. 

During the process of "picking out" a fabric sample, it will be advisable to indicate on the 

squared designing paper near each filling-thread as picked out, its color or general remarks as to 

thickness, twist, etc. Also, to indicate the colors and size of the 

i warp-threads as found in the sample dissected. (For illustration see 

■g Fig. 1012.) By proceeding in this manner it will be found that after a 

2 certain number of successive threads in warp and filling have been 

a £ * ■ " . ■ m picked out, the same arrangement of using threads of various colors 

■gwgll lllw or counts, or both combined in the sample, repeats over again. 

■□nMnnajL'icMBnBaBBiack. This is classified as the " repeat of the pattern." All repeats of a 

■■5BS5nBS5B"BEI53a"Biue! c ' pattern must be similar to each other; thus, if we place two, three or 

SBS)SffiSnnS : SS5n"52Biack' more repeats of the sample above each other, thev must in every 

MinnMinMDKDDHn'-MBlnck. • , . t ,, . , t ft , , i t i, 

■BlXwMUn*M3Mnn*i»nnBrown. instance cover itself in color, size or counts of threads, and method 
Fig. 1012. Qf interlacing- 

Again, if a number of these repeats are placed near each other in the direction of the warp 
and filling, they must connect. If patterns are found not to contain this peculiarity, or, in other 
words, " do not repeat," they must be arranged so as to have this peculiarity, or be made to repeat. 

The arrangement of the warp is known as the " dressing," while the arrangement of the filling 
indicates the building of the "box-chain" in practical work. 

VI. Ascertaining the Size of the Yarns (their Counts) Found in Sample, and the 
Amount and Direction of Twist. 

The size or thickness of a thread is ascertained generally by comparing the picked out thread 
with a collection of yarns Qf the same material and of a known size. For this purpose prepare 
a collection of woolen, worsted, cotton and silk yarns most commonly used. In fabrics requiring 
no fulling, or only a very little, such as worsted dress goods, etc, weigh a small sample of the 
threads and calculate from their length and weight the size of the yarn ; but as a general rule the 
first given method will be found quick, correct and less troublesome to the designer. Care must 



265 

be taken to compare threads of which the counts are required to be ascertained with samples of 
threads of a known size, which have previously been subjected to an equal amount of shrinkage 
by " fulling " etc.; or, if such a thread cannot be obtained, compare the picked-out thread with the 
standard threads of a similar material, but take into consideration the process the first mentioned 
thread has been subjected to during the finishing process of the fabric it was a part of. 

VII. Ascertaining the Weight of Cloth per Yard from the Loom. 

This subject, based entirely upon results obtained by previous points, forms the most inter- 
esting work in the analysis of cloth. Whatever the size of sample may be which is submitted for 
examination, and whatever the quantity of yards of cloth to be produced, the weight per yard 
from loom will form the standard upon which future calculations in manufacturing must be based 
by figuring in proportion. After knowing the number of threads required in the width of a 
fabric submitted for analysis, the counts of the respective threads, and the dressing and the shrink- 
age of the warp in weaving, it will be easy to ascertain the weight of warp yarn required. 
Example A. Dressing: 4 threads black, 4 run woolen yarn. 

2 " blue, 4 " " " 

4 " brown, 4 " " " 

10 threads in repeat. 
3,600 ends in full warp, 6 per cent, shrinkage or take up of warp during weaving. 

Required: Find weight of warp yarn of each kind necessary for one yard of the woven 
fabric. 

100 — 6 = 94. Thus 94 : 100 : : 36 : x and 100 X 36 = 3600 -*- 94 = 38.3. 
Each individual thread requires 38.3 inches length dressed to produce 36 inches interwoven. 
Hence 3,600 X 38.3 = 137,880 inches = 3,830 yards of warp required to produce one yard of 
the woven fabric (plus amount of filling required). 

3,830 yards 4 run yarn equal in weight 9.575 oz , ten threads repeat of the pattern, thus: 
9.575 ~- 10 = 0.9575 oz. weight in proportion for each thread, consequently: 
4 threads black = 4 X 0.9575 = 3.830 oz. per yard. 
2 " blue = 2 X 0.9575 = I.915 " " 
4 " brown = 4 X O.9575 = 3.830 " 



9.575 oz. total weight. 
Answer: The previously given example requires 

3.83 oz. 4 run black warp for each yard woven. 
I.915 " 4 " blue " " " 

3.83 " 4 " brown " " 

consequently 9.575 oz. weight of complete warp in one yard woven (3,600 threads 4 
run yarn, six per cent, take up of warp). 

The threads used are not always of the same counts. Two, three or more different sizes of 
yarn may be called for in a fabric. If such is the case first ascertain the number of yards 
required of each kind and next their weight. Suppose the previously given example read as 
follows : Example B. 3,600 ends in warp — 6 per cent, shrinkage of warp in weaving. 
Dressing: 4 threads brown 2.30s worsted. 
2 " blue 2.28s " 

4 " black 2.32s " 

10 threads repeat of pattern. 



266 

As explained in previously given example, 36 inches woven equal 38.3 inches dressed by- 
allowing six per cent, take up. 

3,600 ends in warp -*- by 10 threads in one repeat = 360 repeats of each thread ; thus, 

4 threads brown 2.30s worsted = 360 X 4 = 1,440 threads (a). 

2 " blue 2.28s " = 360 X 2 = 720 " (o). 

4 " black 2.32s " = 360 X 4 = 1,440 " (c). 

10 threads in repeat. 3,6oo threads in warp. 

a. Brown, requires 2.30s worsted = 8400 yards to 1 lb. 
36 : 38.3 : : 1440 : x 

38.3 X J 44° -h 36 = 1532 yards of 2.30s brown worsted required. 

8400 : 16 : : 1532 : x 

!53 2 X J 6 "*" 8400 = 2.918 oz. of brown 2 30s worsted required for 1 yard cloth woven. 

b. Blue, calls for 2.28s worsted = 7840 yards to 1 lb. 
36 : 38.3 : : 720 : x 

38.3 x 7 2 ° -5- 36 = 766 yards of 2.28s blue worsted required. 

7840 : 16 : : 766 : x 

766 X 16 -*- 7840 = 1.563 oz. of blue 2.28s worsted required for I yard cloth woven. 

c. Black calls for 2.32s worsted = 8960 yards to 1 lb. The number of threads are equal to a, 
thus: 1532 yards of 2.32s black worsted required. 

8960 : 16 : : 1532 : x 

1532 X 16 -+- 8960 = 2.735 oz - °f black 2.32s worsted required for 1 yard of cloth woven. 

Answer : The previously given example requires the following amount of yarns : 

Brown, 2.30s worsted = 2918 oz. 

Blue, 2.28s " = 1.563 " 

Black, 2.32s " ' = 2.735 " 

7.216 oz. weight of complete warp in 1 yard woven. 



TABLE OF RELATIVE LENGTHS 

Of Inches Dressed and One Yard Woven, with Reference to a "Take-up" During 
■Weaving, for 1 per cent, to 50 per cent. 



Per cent, of take-up 
during weaving. 


Number of inches required 

dressed to produce one yard or 

36 inches woven. 


Per cent, of take-up 
during weaving. 


Number of inches required 

dressed to produce one yard or 

36 inches woven. 


1 


36.36 


13 


41.38 


2 


36-73 


14 


41.86 


3 


37- 1 1 


15 


42.35 


4 


37-50 


16 


42.85 


5 


37-39 


17 


43-37 


6 


38.30 


18 


43-90 


7 


38.71 


19 


44.44 


8 


39-13 


20 


45.00 


9 


39-56 


25 


48.00 


10 


40.00 


30 


51-43 


11 


40-45 


40 


60.00 


12 


40.91 


50 


72.00 



The next point for ascertaining the weight of cloth per yard from the loom is to ascertain the 
amount of filling required for one yard. 

To explain this subject let us continue the example previously given and indicated by A. 
Suppose those 3600 ends require 72 inches wide setting in reed (allowing 1 inch for width of 



267 

selvage on each side), and suppose the filling found used in sample submitted for analysis calls for 
33^ run black woolen yarn and 52 picks per inch in loom. 

Question: Find amount of filling required for weaving one yard. 

52 (picks) X 72 (width) = 3744 inches filling required for 1 inch of cloth, or 3744 yards of 
filling required for 1 yard of cloth. 

3744 yards of 3^ run filling (3744 ■+■ 350) = 10.697 oz. 

Answer: 10.697 oz - filling required for weaving 1 yard cloth in the present example. 

If two, three or more kinds of threads of various counts of fillings are used, ascertain each 
kind independent of the other. For illustration let us continue example B as previously given 
for ascertaining the warp. 

Suppose the width of fabric (including ]/ 2 inch selvage for each side) calls for 64 inches and 
the arrangement of filling for 6 picks 2.26s black worsted and for 6 picks 2.28s brown worsted 
= 12 picks in repeat of pattern and 56 picks per inch in fabric. 

Question : Find the amount of filling required for weaving I yard. 
1 56 (picks) X 64 (width) = 3584 yards of filling required to weave I yard of cloth. 

Thus: 3584 -=- 2 = 1792 yards 2.26s worsted black (a), and 1792 yards 2.28s worsted 
brown (&), the filling required to weave 1 yard of cloth. 

a. 2.26s worsted (= 7280 yards to 1 lb.). Thus: 1792 : x : : 7280 : 16 
1792 X16 ■*■ 7280 = 3.938 oz. of 2.26s black worsted required. 

b. 2.28s worsted (= 7840 yards to 1 lb.). Thus : 1792 : x : : 7840 : 16 
1792 x 16 -v- 7840 = 3657 oz. of 2.28s brown worsted required. 
Answer: 3.938 oz. of 2.26s black worsted. 

3657 oz. of 2.28s brown worsted. 

7.595 oz. the amount of filling required for weaving 1 yard of cloth in the present 
example. 
The next thing to be ascertained will be the amount of selvage threads to be used, and their 
respective weight. 

Suppose example A calls for 30 threads 2 run (woolen yarn) for selvage for each side of 
the fabric, thus 60 threads for complete selvage. 

+ 6 per cent, take-up = 63.82 yards of two run selvage, equal to 0.319 oz. of yarn for I 
yard of woven cloth. 

For example B. allow 30 threads of 2.20s worsted for selvage on each side of the fabric ; thus 
60 threads for complete selvage. 

4- 6 per cent, take up = 63.82 yards of 2.20s worsted = 0.182 oz. of yarn for 1 yard of 
woven cloth. 

Example A. thus requires: 

9.575 oz. warp yarn, 
10.697 oz. filling, 
0.319 oz. selvage threads. 
20.591 oz. the weight of I yard of cloth from the loom. 
Example B. thus requires : 

7.216 oz. warp, 
7.595 oz. filling, 
0.182 oz. selvage threads. 

14.993 oz. the weight of 1 yard of cloth from the loom. 
After the weight of 1 yard of the cloth woven is ascertained it is easy to calculate the 
amount of yarn required for 1 piece of cloth or any number, by simply multiplying the weight 
per yard with the number of yards required. 



268 

For example : Suppose previously given example A to be applied to a fabric 40 yards " from 
loom." Thus : 

9.575 oz. X 40 = 383 oz. = 23 lbs. 15 oz. warp yarn, 
10.697 oz - X 40 = 427.88 oz. = 26 lbs. 11.88 oz. filling yarn, 

0.319 oz. X 40 = 12.76 oz. = 12.76 oz. selvage. 

20.591 oz. total, 51 lbs. 7.64 oz. weight for 1 piece 40 yards long. 

Proof: 20.591 oz., weight of cloth per yard, x 40, number of yards of cloth required, equals 
823.64 oz., -*- 16 = 51 lbs. 7.64 oz. 

Suppose the previously given example under B applied to the following — . 
Question: Find the amount of yarn required for producing 20 pieces, each 50 yards long 
from loom, thus: 

20 pieces X 50 yards each cut = 1000 yards of cloth required, hence 
7.216 oz. X 1000 = 7216 oz. = 451 lbs. 
7.595 " X 1000 = 7595 " =474 " 11 oz. 
0.182 " X 1000= 182 " = 11 " 6 " 



14.993 937 lbs- 1 oz - weight required for 20 pieces, 

each 50 yards long, or 1000 yards of cloth woven. 

Proof: 14.993 oz. weight per yard of cloth X 1000 (number of yards of cloth woven) 
14993 oz. -s- 16 = 937 lbs. 1 oz. 

VIII. Ascertaining the Process of Finishing Necessary and the Amount of Shrinkage 

of the Fabric. 

The shrinkage of a fabric during finishing is regulated by the amount of fulling required. 
Woolen fabrics, and especially such as are constructed out of soft spun yarn, shrink more than 
any other textile fabric. 

In arranging the width of a fabric for weaving ("setting" in reed) we must calculate the 
amount of shrinkage of the fabric on the loom as well as during the process of finishing. The 
shrinkage in length of the fabric can more readily be regulated during the finishing process 
(fulling). Worsted fabrics, which require no fulling — only scouring — shrink very little, while 
cotton goods, which require only calendering or pressing, etc., do not lose any, and may possibly 
rather gain, in length. 

During the process of carding and spinning, oil, water, etc., are taken up by the wool, and 
during dyeing some of the dye-stuff will remain loosely in the yarn. These substances must be 
removed in the scouring of the cloth; therefore we must allow for a corresponding loss in weight 
for such fabrics from their relative weight in the loom until the fabric is scoured. 

The subsequent processes, such as gigging and shearing, will also reduce the previous loom 
weight of the fabric. Fabrics requiring none of these processes consequently need none of these 
considerations, while fabrics requiring a starching, calendering or flocking may even gain in 
weight during such an operation. 

The shrinkage of fabrics in finishing requires, similar to the two different widths (width of 
fabric when finished, and its width in reed), to figure in two different lengths during calculations. 
a the length of the cloth from loom, b its finished length. It will be easily understood that when 
orders are given for a certain number of yards from a buyer or the commission house, they con- 
sider the number of yards given as the "finished yards"; therefore the percentage that the fabric 
shrinks during the finishing process must be added for ascertaining the number of yards required 
"from loom," or woven. Take-up during weaving added, will give us a third length, or the length 
of warps dressed, while the shrinkage of a fabric in finishing regulates, as previously mentioned, 
the width of the fabric in loom, in addition to the width of the finished fabric. 



269 

GRADING OF THE VARIOUS YARNS USED IN THE MANUFACTURE OF 
TEXTILE FABRICS ACCORDING TO SIZE OR COUNTS. 

The sizes of the yarns, technically known as their counts or numbers, are based for each 
different raw material upon the number of yards necessary to balance [ lb. (avoirdupois), conse- 
quently the higher the count or number the finer the yarn according to its diameter. The number 
of yards thus necessary to balance I lb. is known as the " Standard " and varies accordingly for 
each material. 

I. Cotton Yarns. 

Cotton yarns have for the standard 840 yards (equal to 1 hank) and are graded by the 
number of hanks 1 lb. contains. Consequently if two hanks, or 2 X 840 yards = 1680 yards, 
are necessary to balance 1 lb., we classify the same as number 2 cotton yarn. If three hanks, or 
3 X 840 yards = 2520 yards, are necessary to balance 1 lb., the thread is known and classified 
as number 3 cotton yarn. Continuing in this manner, always adding 840 for each successive 
number, it gives us the number of yards the various counts of yarn contain for 1 lb. 

Table for Lengths of Cotton Yarns. 
\ From number 1 to 240s. I 



No. 


Yds. to 1 lb. 




No. 


Yds. to 1 lb. 




No. 


Yds. to 1 lb. 




No. 


Yds. to 1 lb. 


1 


840 


25 


21,000 


49 


41,160 


73 


61,320 


2 


i,6So 




26 


21,840 




50 


42,000 




74 


62,160 


3 


2,520 




27 


22,680 




51 


42,840 




75 


63,000 


4 


3,36o 




28 


23,520 




52 


43,6So 




76 


63,840 


5 


4,200 




29 


24,360 




53 


44,520 




77 


64,6So 


6 


5,040 




30 


25,200 




54 


45,36o 




78 


65,520 


7 


5,8.So 




3 1 


26,040 




55 


46,200 




79 


66,360 


8 


6,720 




32 


26,S8o 




56 


47,040 




80 


67,200 


9 


7,56o 




33 


27,720 




57 


47,880 




85 


71,400 


10 


S,4co 




34 


28,560 




58 


48,720 




90 


75,6oo 


11 


9,240 




35 


29,400 




59 


49.56o 




95 


79,8oo 


12 


10,080 




36 


30, 240 




60 


50,400 




100 


S4,ooo 


13 


10,920 




37 


31,080 




61 


51,240 




no 


92,400 


14 


11,760 




38 


31,920 




62 


52,080 




120 


ioo.Soo 


15 


12,600 




39 


32,760 




63 


52,920 




130 


109,200 


16 


13.440 




40 


33,6oo 




64 


53,76o 




140 


117,600 


17 


14,280 




41 


34,44o 




65 


54,600 




150 


126,000 


18 


15,120 




42 


35,2So 




66 


55,440 




160 


134,400 


'9 


15,960 




43 


36,120 




67 


56,280 




170 


142,800 


20 


16,800 




44 


36,960 




68 


57,i2o 




1 So 


151, 200 


21 


17,640 


45 


37,Soo 




69 


57,96o 




190 


159,600 


22 


18,480 




46 


38,640 . 




70 


58,800 




200 


168,000 


23 


19,320 




47 


39.48o 




71 


59,640 




220 


184,800 


24 


20, 1 60 




48 


40,320 




72 


60,480 




240 


201,600 



Cotton yarns are frequently manufactured into 2-ply. In such cases the number of yards 
required for 1 lb. is one-half the amount called for in the single thread. 

For example: 20s cotton yarn (single) equals 16,800 yards per pound, while a 2-ply thread 
of 20s cotton, technically indicated as 2.20s cotton, requires only 8,400 yards, or equal to the 
amount called for in single 10s cotton (technically represented as 10s cotton). 

If the yarn be more than 2-ply, divide the number of yards of single yarn in the required 
number by the number of ply. 



270 

Rule for Finding the Weight in Pounds of a Given Number of Yards of Cotton 

Yarn of a Known Count. 

Divide the given yards by the number of yards of the known count required to balance i lb. 
Example (single yarn). — Find weight of 1,260,000 yards of 30s cotton yarn. 

30s cotton yarn = 25,200 yards to 1 lb. Thus 1,260,000 -*- 25,200 = 50. 
Answer: 1,260,000 yards of 30s cotton yarn weigh 50 lbs. 
Example (2-ply yarn). — Find weight of 1,260,000 yards of 2.30s cotton yarn. 

2.30s cotton yarn = 12,600 yards to 1 lb. Thus 1,260,000 ■*■ 12,600 = 100. 
Answer: 1,260,000 yards of 2.30s cotton yarn weigh 100 lbs. 

Rule for Finding the Weight in Ounces of a Given Number of Yards of Cotton 
Yarn of a Known Count. 

Multiply the given yards by 16 and divide result by the number of yards of the known 
count required to balance 1 lb. 

Example (single yarn). — Find weight of 1 2,600 yards of 30s cotton yarn. 
12,600 X 16= 201,600. 1 lb. 30s cotton yarn = 25,200 yards. Thus 201,600 -*- 25,200 = 8. 

Answer: 12,600 yards of 30s cotton yarn weigh 8 oz. 

Example (2-ply yarn). — Find weight of 12,600 yards of 2.30s cotton yarn. 
12,600 X 16 = 201,600. 1 lb. 2.30s cotton yarn = 12,600 yards. Thus 201,600 -*- 12,600 =16. 

Answer: 12,600 yards of 2.30s cotton yarn weigh 16 oz. 

II. Woolen Yarns — "Run" System. 

Woolen yarn is, with the exception of the mills in Philadelphia and vicinity, graded by the 
"runs," which have for their standard 1 600 yards. Consequently 1 run yarn requires 1600 
yards to 1 lb.; 2 run yarn, 3200 yards to 1 lb.; 3 run yarn, 4800 yards to 1 lb., etc., always 
adding 1600 yards for each successive run. In addition to using whole numbers only as in the 
case of cotton and worsted yarn, the run is divided into halves, quarters and occasionally into 
eighths, hence 

200 yards equal l /% run. 
400 " " % " 

600 " " y% " 

800 " " y 2 " 

1000 " " y " 

1200 " " y " 

1400 " " y% " 

1600 " " 1 " etc. 

The run basis is very convenient for textile calculations by reason of the standard number 
equalling IOO times the number of ounces that one lb. contains. By simply multiplying the size 
of a yarn given in " run " counts by 100 and dividing the result into the number of yards given 
(for which we have to find the weight) gives us as the result the weight expressed in ounces. 
Example: Find the weight of 7,200 yards of 4 run yarn. 

4 X 100 = 400. 
7,200 -=- 400 = 18. 
Answer: 7,200 yards 4-run yarn weigh 18 oz. 
Question: Find weight of 3,750 yards of 3^ run yarn. 
Answer : 3,750 -=- 375 = 10 oz. 

If the weight of a given number of yards and of a given size of woolen yarn, run system, 
is required to be calculated in pounds, transfer the result obtained in ounces into pounds or frac- 
tions thereof. 



271 



Table for Lengths of Woolen Yarns [Ran basis) from One-fourth Run to Fifteen Run. 



Run. 


Yds. to i lb. 




Run. 


Yds. to 1 lb. 




Run. 


Yds. to 1 lb. 


% 


400 


4 


6400 


iH 


12400 


A 


Soo 




A l 4 


6800 




8 


12800 


u 


1200 




AA 


7200 




S'A 


13200 


I 


1600 




\X 


7600 




&A 


13600 


I % 


2000 




5 , 


8000 




W 


14000 


1% 


2400 




5* 


8400 




9 , 


14400 


tH 


2800 




sA 


8800 




9A 


15200 


2 


3200 




5K 


9200 




10 


16000 


2# 


3600 




6 


9600 




10A 


16800 


^A 


4000 




6'X 


1 0000 




11 


17600 


*X 


4400 




6A 


10400 




11K 


18400 


3 


4800 




6% 


10800 




12 


19200 


\% 


5200 




7 


1 1200 




13 


20800 


zA 


5600 




lA 


1 1600 




14 


22400 


sU 


6000 




VA 


12000 




15 


24000 



III. Woolen Yarn — "Cut" System. 

As previously mentioned, woolen yarn is also graded by the "cut" system. 
300 yards is the basis or standard, consequently if 

300 yards of a given woolen yarn weigh 1 lb., we classify it as 1 cut yarn ; 
600 " " " " " " 1 " " " " 2 " 

900 " " " " " " I " " " " 3 " 

and so on, hence the count of the woolen yarn expressed in the "cut," multiplied by 300, gives as 
the result the number of yards of respective yarn that I lb. contains. 

Table for Lengths of Woolen Yarns (Cut System). 
(From 1 Cut to 50 Cut Yarn.) 



Cut. 


Yards to lb. 




Cut. 


Yards to lb. 




Cut. 


Yards to lb. 




Cut. 


Yards to lb. 


1 
2 


300 
600 


13 

14 


3.90O 
4,200 


25 
26 


7.5oo 
7,800 


37 
38 


11,100 
11,400 


3 
4 


900 
1,200 




15 
16 


4.5oo 
4, Soo 




27 

2S 


8,100 
8,400 




39 
40 


11,700 
12,000 


5 
6 


1,500 
1, Soo 




17 
18 


5.ioo 
5.4oo 




29 
30 


8,700 
9,000 




41 
42 


12,300 
12,600 


7 
8 


2,100 
2,400 




19 
20 


5,7oo 
6,000 




3' 
32 


9.3oo 
9,600 




43 

44 


12,900 
13,200 


9 
10 


2,700 
3,000 




21 
22 


6,300 
6,600 




33 
34 


9,900 
10,200 




45 
46 


13,500 
13,800 


11 
12 


3.3°° 
3,600 




23 
24 


6,900 
7,200 




35 
36 


10,500 
10,800 




48 
50 


14,400 
15,000 






Rule for Finding the Weight in Ounces for a Given Number of Yards of Woolen 
Yarn, Figured by the "Cut" Basis. 

This rule is similar to the one given for cotton yarn. Multiply the given yards by 16 and 
divide the result by the original number of yards for the given "count" of cotton yarn that 1 lb. 
contains. 

Example. — Find weight for 12,600 yards of 40-cut woolen yarn. 
I2,6ooX 16=201,600. 1 lb. of 40-cut woolen yarn= 1 2,000 yards. Thus 20 1,600 ■— 12,000=16.8. 

Answer: 12,600 yards of 40-cut woolen yarn weigh 16.8 oz. 



272 

Rule for Finding the Weight in Pounds of a Given Number of Yards of Woolen 
Yarn, Graded by the "Cut" Basis. 

This rule is also similar to the one previously given for cotton yarn. Divide the given yards 
by the original number of yards for the given "count" of woolen yarn (cut basis) in i lb. The 
result expresses the weight in pounds or fractions thereof. 

Example. — Find weight of 1,260,000 yards of 40-cut woolen yarn. 

40-cut woolen yarn = 12,000 yards to 1 lb. Thus 1,260,000 -+- 12,000 = 105. 

Answer: 1,260,000 yards of 40-cut woolen yarn weigh 105 lbs. 

IV. Worsted Yarns. 

Worsted yarns have for their standard measure 560 yards to the hank. The number of 
hanks that one pound requires for balancing indicate the number or count by which 
it is graded. Hence, if 40 hanks, each 560 yards long, are required to equal one pound in weight, 
such a yarn is known as 40s worsted. If 48 hanks are required, it is known as 48s worsted, etc. 
In this manner is found the number of yards for any size or count of worsted yarns by simply 
multiplying the number by 560. 

Worsted yarn is, like cotton yarn, produced very frequently in 2-ply. If such is the case, 
only one-half the number of yards are required to balance the pound. Hence, 40s worsted 
(technically for single 40s worsted) requires 22,400 yards per pound, and 2.80s worsted (techni- 
cally for two-ply 80s worsted) requires also 22,400 yards per pound. 

If the yarn be more than 2-ply, divide the number of yards of single yarn in the required 
number by the number of ply. 

Table showing the Number of Yards of Worsted Yarn to the Pound, either Single or Two-ply, in 

any Count not exceeding 200. 



No. 


Yds. Single 
Thread. 


Or, 


Yds. Two-Ply. 




No. 


Yds. Single 
Thread. 


Or, 


Yds. Two-Ply. 


1 


560 






2S0 


54 


3°, 240 


« 


15,120 


2 


1,120 






560 




56 


31,360 




15,680 


4 


2,240 






1,120 




58 


32,480 




16,240 


6 


3,36o 






1,680 




60 


33,6oo 


" 


16,800 


8 


4,480 






•2,240 




62 


34,72o 


17,360 


10 


5,600 






2,800 




64 


35,840 


17,920 


12 


6,720 






3,36o 




66 


36,960 


18,480 


14 


7,840 






3,920 




68 


3S,oSo 




19,040 


16 


8,960 






4,480 




70 


39,200 


" 


19,600 


18 


10,080 






5,040 




72 


40,320 


" 


20,160 


20 


11,200 






5,6oo 




74 


41,440 


" 


20,720 


22 


12,320 






6,160 




76 


42,560 




21,280 


24 


i3,44o 






6,720 




78 


43,680 




21,840 


26 


14,560 






7,280 




80 


44,800 


" 


22,400 


28 


15,680 






7,840 




82 


45,920 


" 


22,960 


3° 


16,800 






8,400 




84 


47,040 


" 


23,520 


3 2 


17,920 






8,960 




86 


48, 160 




24,oSo 


34 


19,040 






9,520 




88 


49,280 


" 


24,640 


36 


. 20,160 






10,080 




90 


50,400 




25,200 


33 


21,280 






10,640 




92 


51,520 


" 


25,760 


40 


22,400 






11,200 




94 


52.640 


" 


26,320 


42 


23.5 20 






11,760 




96 


53,76o 




26,880 


44 


24,640 






12,320 




98 


54.8So 




27,44o 


46 


25,760 






12,880 




100 


56,000 




28,000 


48 


26,880 






i3,44o 




150 


84,000 




42,000 


50 


28,000 






14.000 




200 


112,000 




56,000 


52 


29, T20 




14,560 













273 

Rule for Finding the Weight in Ounces of a Given Number of Yards of Worsted 

Yarn. 

Multiply the given yards by 16, and divide the result by the number of yards the given 
" count " of worsted yarn contains balancing i pound. 
Example: (Single worsted). 

Find weight for 12,600 yards of 40s worsted. 
12,600 X 16=201,600. 
1 lb. of 40s worsted = 22,400 yards, thus: 
201,600 -r- 22,400 = 9. 
Answer : — 12,600 yards of 40s worsted weigh 9 ounces. 
Question: (2-ply worsted). — Find weight for 12,600 yards of 2.40s worsted. 
12,600 X 16 = 201,600. 
lb. of 2.40s worsted = 11,200 yards. Hence, 201,600 -=- 11,200 = 18. 
Answer — 12,600 yards of 2-4OS worsted weigh 18 ounces. 

Rule for Finding the Weight in Pounds of a Given Number of Yards of Worsted 

Yarn of a Known Count. 

Divide the given yards by the number of yarns of the known count required to balance 
I pound. 

Example. (Single yarn). 

Question: — Find the weight of 1,260,000 yards of 40s worsted yarn. 

40s worsted = 22,400 yds. to 1 lb. Thus, 1,260,000 -*- 22,400 = 56 v( lbs. 
Answer: — 1,260,000 yds. of 40s worsted yarn weigh 56^ lbs. 
Question: (2-ply yarn). — Find the weight of 1,260,000 yds. of 2.40s worsted yarn. 

2.40s worsted = 1 1,200 yds. to 1 lb. Thus, 1,260,000 -*- 1 1,200 = 1 12^. 
Answer: — 1,260,000 yds. of 2.403 worsted yarn weigh 112^ lbs. 

V. Silk. 

A. Spun Silks. — Spun silks are calculated as to the size of the thread, on the same basis as 
cotton (840 yards to one hank, and the number of hanks one pound requires indicate the counts). 

In the calculation of cotton, woolen or worsted, double and twist yarn, the custom is to con- 
sider it the same as twice as heavy as single; thus double and twisted 40s worsted (technically 2.40s 
worsted) equals single 20s worsted for calculations. In the calculation of spun silk the single 
yarn equals the two-fold; thus single 40s and two-fold 40s (40.2s) require the same number of 
hanks (40) = 33,600 yards. The technical expression of two-fold in spun silk is also corres- 
pondingly reversed if compared to cotton, wool and worsted yarn.. In cotton, wool and worsted 
yarn the 2 indicating the two-fold is put in front of the counts indicating the size of the thread 
(2.40s), while in indicating spun silk this point is reversed (40.2s), or in present example single 80s 
doubled to 40s. 

B. Raw Silks. — The adopted custom of specifying the size of silk yarns is in giving the 
weight of the 1000 yards hank in drams avoirdupois; thus if one hank weighs 5 drams it is tech- 
nically known as " 5 dram silk," and if it should weigh 8$4 drams it is termed "8^ dram silk." 
As already mentioned the length of the skeins is 1000 yards, except in fuller sizes where 1000 yard 
skeins would be rather bulky, and apt to cause waste in winding. Such are made into skeins of 
500 and 250 yards length, and their weight taken in proportion to the 1000 yards; thus, if the 
skein made up into 500 yards weighs 8}4 drams, the silk would be 17 dram silk; if a skein made 



274 

up into 250 yards weighs 4 drams, the silk would be 16 dram silk. The size of yarns is always 
given for their "gum" weight; that is, in their condition before dyeing. 

Previous to being dyed silk yarns are subjected to " boiling off," a process taking out the 
gum or saliva which the silk worm spins into the single thread. In this " boiling off" yarns lose 
from 24 to 30 per cent according to the class of raw silk used ; China silks losing the most, Eu- 
ropean and Japan silks the least. 

The following table shows the number of yards to the pound and ounce from 1 dram silk to 
30 dram silk. The number of yards given per pound in the table is based on a pound of gum 
silk. 

Length of Gum Silk Yarn per Pound and per Ounce. 



Drams per 


Yards 


Yards 


Drams per 


Yards 


Yards 


Drams per 


Yards 


Yards 


1000 yards. 


per lb. 


per oz. 


1000 yards. 


per lb. 


per oz. 


1000 yards. 


per lb. 


per oz. 


1 


256,000 


16,000 


5 


51,200 


3,20O 


16 


16,000 


1,000 


I* 


204, Soo 


1 2, Soo 


s'A 


46,545 


2,909 ; 


17 


15,058 


941 


I* 


170,666 


10,667 


6 


42,667 


2,667 | 


18 


14,222 


889 


I* 


146,286 


9,143 


6^ 


39,385 


2,462 


19 


13,474 


842 


2 


128,000 


8,000 


7 


36,571 


2,286 


20 


1 2, Soo 


Soo 


2# 


"3,777 


7,111 


7% 


34,133 


2,133 


21 


12,190 


762 


*'A 


102,400 


6,400 


8 


32,000 


2,000 1 


22 


11,636 


727 


1% 


93,091 


5,818 


8/ 2 


30,118 


1,882 1 


23 


11,130 


696 


3 


85,333 


5,333 


9 , 


28,444 


i,778 


24 


10,667 


666 


3% 


78,769 


4,923 


9% 


26,947 


1,684 


25 


10,240 


640 


3'A 


73,143 


4,57i 


10 


25,600 


1,600 


26 


9,846 


615 


VA 


68,267 


4,267 


11 


23, 2 73 


i,455 


27 


9,481 


592 


4 


64,000 


4,000 


12 


21,333 


i,333 


2S 


9,143 


57i 


4'X 


60,235 


3,765 


13 


19,692 


1,231 


29 


8,827 


55i 


4'A 


5 6,8S 9 


3.556 


14 


18,286 


i,i43 


30 


8,533 


533 


4H 


53,36S 


3,368 


15 


17,067 


1,067 









RULES FOR FINDING THE EQUIVALENT COUNTS OF A GIVEN 
THREAD IN ANOTHER SYSTEM. 



Rule : The 
different material 
same proportion 
of the one given 

Example i. 



Answer : A 
Example 2. 
cotton. 



A. Cotton, Woolen and Worsted Yarn. 

counts of a given thread are to the counts of an equal thread (in size) ot a 
, or a thread of the same material but figured after a different " standard," in the 
as the " standard number " of the one to be found is to the " standard number " 

Cotton — Worsted. Find equal size in worsted yarn to 2 is cotton. 
Cotton standard : Worsted standard. 
840 : 560 =3:2. 

Thus, 3 : 2 : : x : 21. 
3 X 21 = 63 - 2 = 31^. 
thread of 21s cotton equals (in size) a thread of 31 J^s worsted. 
Cotton — Wool (run system). Find equal size in woolen yarn (runs) to 10s 



Cotton standard : Run standard. 

840 : 1600 = 21 : 40. 

Thus, 21 : 40 : : x : 10. 
21 X 10 = 210 -=- 40 = S/i- 
Answer: A thread of 10s cotton equals (in size) a thread of 5^-run (wool). 



275 

Example 3. Cotton — Wool (cut system). Find equal size in woolen yarn (cut basis) to 
ios cotton. 

Cotton standard : Cut standard. 
840 : 300 = 14 : 5. 

Thus, 14 : 5 : : x : 10. 
14 X 10 = 140 -=- 5 = 28. 
Answer: A thread of ios cotton equals (in size) a thread of 28 cut (wool). 
Example 4. Worsted — Wool dun system). Find equal size in woolen yarn (run basis) to 
20s worsted. 

Worsted standard : Run standard. 

560 : 1600 = 7 : 20. 

Thus, 7 : 20 : : x : 20. 
7 X 20 = 140 ~ 20 = 7. 
Answer: A thread of 20s worsted equals (in size) a thread of 7 run (wool). 
Example 5. Worsted — Wool (cut system). Find equal size in woolen yarn (cut basis) to 
15s worsted. 

Worsted standard : Cut standard. 

560 : 300 = 28 : 15. 

Thus, 28 : 15 : : x : 15. 
28 X 15 = 420 -j- 15 = 28. 
Answer : A thread of 15s worsted equals (in size) a thread of 28 cut (wool). 
Example 6. Worsted — Cotton. Find equal size in cotton to 30s worsted. 

2 : 3 : : x : 30 = 60 -=- 3 = 20. 

Answer : — A thread of 30s worsted equals (in size) a thread of 20s cotton. 

Example 7. Woolen Yarn. Run System — Cut System. Find equal size in the cut basis 
of a 6-run thread. 

16 : 3 :: x : 6 = 96 -=- 3 = 32. 

Answer : — A 6-run woolen thread equals (in size) a 32 cut thread of the same material. 

Example 8. Woolen Yarn. Cut System — Run System. Find equal size in the run 
basis of a 32-cut woolen thread. 

3 : 16 : : x : 32 = 96 -=- 16 = 6 

Answer : — A 32-cut woolen thread has for its equal in size a 6-run thread of the same 
material. 

B'. Spun Silk Compared to Cotton, Woolen, or Worsted Yarn. 

The basis of spun silk is the same as that of cotton. Therefore, the rules and examples 
given under the heading of "Cotton " refer at the same time to spun silk. 

B 2 . Raw Silk Compared to Spun Silk, Cotton, Woolen, or Worsted Yarn. 

Rule. — Find the number of yards per pound (on table previously given) in raw silk, and 
divide the same by the standard size of the yarn basis to be compared with. 

Example 9. Raw Silk — Cotton. Find equal size in cotton yarn to 9 dram raw silk. 

9 dram raw silk = 28,444 yds. per lb. Thus, 28,444 ■*- 840 (cotton standard) = n%. 
Answer : — 9 dram raw silk equals nearly 34s cotton. 
Example 10. Spun Silk or Cotton — Raw Silk. Find equal size in raw silk to 38s cotton. 

38s cotton = 31,920 yds. per lb. (38 X 840). 
Refer to table for raw silk, where you will find 8 dram per 1000 yards gives 32,000 per lb. 
Answer : — A 38s-cotton thread equals (nearly) an 8 dram raw silk thread. 



276 



TABLE OF RELATIVE LENGTHS. 

Of Cotton Yarns by Numbers and Woolen Yarns by Runs. 

Taking the Number as a Basis. 
840 yards single Cotton Yarn = 1 Number. 
1,600 " " Woolen " =1 Run. 



No. 1 Single Cotton Yarn ■ 



|J Run Single Woolen. 



3so 

3iS 

4i 

Ail 

5t 

5tt 

61,? 



No. 1 5 Single Cotton Yarn 
16 

17 

18 " 

19 



7} Run Siny 
3? 



9S5 
9ii 
ioi 



23 = I2iV 

24 " " " =124 

2 5 " " " = 135 

26 " " " =i 3 J-J 
28 " = 14^- 
30 " " " = 15-I- 



TABLE OF RELATIVE LENGTHS 

Of Cotton Yarns by Numbers and 'Woolen Yarns by Cuts. 

Taking the Number as a Basis. 
840 yards single Cotton Yarn = 1 Number. 
300 " " Woolen Yarn = 1 Cut. 



No. 1 Single Cotton Yarn = 2f Cut Single Woolen. 



= 5* 

= 8| 

= n i 
= 14 
= i6| 
= 19! 

= 22 l 

= 25i 



= 33i 
= 36! 
= 39* 



N0.15 Single Cotton Yarn : 

16 " 

17 " 

18 '■ 



,42 
= 444 
= 471 
= 5°! 
= 53* 
= 56 
= 58| 
= 6i| 
= 64! 
= 6 7 i 
= 70 
= 724 
= 78* 



Cut Single Woolen. 






TABLE OF RELATIVE LENGTHS. 

Of Cotton Yarn by Numbers and Worsted Yarn by Numbers. 

Taking the Cotton Number as a Basis. 
840 yards Single Cotton Yarn = 1 Number. 
560 " "• Worsted " = 1 Number. 



No. i Single Cotton Yarn 
2 " « 11 

4 " " " : 

6 " 



No. 1*4 Sin 


;;le Worsted. 


3 


1 (i 


6 


t ti 


9 




12 ' 


' " 


15 


1 <i 


18 


' " 


21 


1 (i 


24 


( 11 


27 
30 


. 



No. 22 Single Cotton Yarn = No. 33 Single Worsted. 



36 
39 
4? 

45 
48 
5i 
54 
57 
60 

63 



277 



No. 44 Single Cotton Yarn == No. 66 Single Worsted. 



No. 64 Single Cotton Yarn = No. 96 Single Worsted. 



46 " 


" = 


69 " 


66 " 


" = 


99 


48 ■« 


" " = 


7 2 


6S " 


" " = 


102 " 


50 " 


" " = 


75 


70 " 


" " = 


105 


52 " 


" " = 


78 " 


72 " 




108 " 


54 " 


" = 


Si 


74 " 


" " = 


111 " " 


56 " 


" " = 


84 " 


76 " 


" " = 


114 


58 " 


" = 


87 


78 " 


11 .. _ 


117 


60 " 


" " = 


90 


80 " 


" = 


120 " " 


62 " 


" = 


93 


i 1 00 " 


11 _ 


150 



TABLE OF RELATIVE LENGTHS. 

Of Woolen Yarn by Runs and Cotton Yarn by Numbers. 

Taking the Run as a Basis. 
1600 Yards Single Woolen Yarn = 1 Run. 
S40 " " Cotton Yarn = 1 Number. 

1 Run Single Woolen Yarn = No. ijf Single Cotton Yarn. 



I# 

2 

2# 

*'A 

3 

yd 
iA 
sH 
4 

4'A 
4'A 
4 3 A 
5 
5 'A 

s'A 
sH 

6 

6X 

(>% 

6% 

7 

7'A 

VA 

8 

8X 

8'A 



9'A 
9% 
10 

10 % 
ioy 2 



3'A- 

3lr 

4? 

4i! 

5* 

5? 

6A 

6M 

It 

7i? 

8 3 2 r 

84 

9 A 
9it 
10 

ion 



125 

13K 
13H 

14? 
J4if 
1 soi- 
ls'? 

16 21 

i6i r 

17* 

i7lr 

18/,- 

iSf 

19* 

i9ir 

20 

20 V? 

20^? 



278 



TABLE OF RELATIVE LENGTHS 

Of Woolen Yarn by Runs with Woolen Yarn by Cuts. 

Taking the Run as a Basis. 
1600 yards Single Woolen Yarn=i Run. 
300 " " " " =1 Cut. 



I Run Woolen Yarn . 
IX " 

i'A " 



2'X 
2'A 
2% 

3 

3'A 

3'A 

3% 

4 

4X 

4'A 

4 3 A 

5 

5'A 

5'A 

sU 

6 

6'/ 

ey 2 



= 5'A Cut. 

= 6% " 
= 8 

= 9'A " 

= T-0% " 

= 12 " 

= I3K " 

= H% " 

= 16 " 

= *TA " 

= i834 " 



:22% 
:24 

= 25K 

28 

■29% 
■30% 
■32 

■33'A 
■34 2 A 



6% Run WoolenYarn. 

7 

VA " 

7^ " 

7^ " 

8 

8X " 

8^ " 



9 

9X 
9^ 
9K 
10 



™'A 



. — 36 

■ =31 A 

= 38% 
= 40 
= 41*3 

• = 42% 

= 44 

• = 45^ 
= 46% 

, = 48 

■ =49K 
= 50% 
= 52 
= 53^ 
= 54% 
= 56 
= 5lA 
= 58% 
= 60 
= 6i^ 
= 62% 
= 64 



Cut. 



TABLE OF RELATIVE LENGTHS. 

Of 'Woolen Yarn by Runs and Worsted Yarn by Numbers. 

Taking the Run as a Basis. 
1,600 yards Single Woolen Yarn = 1 Run. 
560 " " Worsted Yarn = 1 Number. 



RUN 








RUN. 










i Single 


Woolen Yarn 


= No 


2$ Single Worsted. 


9 Si 


ngle 


Woolen Yarn = No 


• 25? 


Single Worsted 


2 " 


" " 


= 


5? " 


9'A 


" 


,1 = 


26J 


" " 


3 


" " 


= 


8* " 


9'A 


" 


" = 


27 7 


" " 


4 


(( tt 


= 


nf " 


9A 


" 


" " = 


27! 


" " 


4'A- " 


d tt 


= 


12? " " 


10 


" 


" " = 


28$ 


" " 


5 


«« tt 


= 


I4f " 


10X 


" 


" " = 


29! 


" " 


5'A " 


tt a 


= 


15 


10K 


" 


" " = 


30 


11 i. 


5% " 


tt <c 


= 


Tc 5 1' tt 

: 57 


10U 


" 


« ,, _ 


30? 


11 11. 


sU " 


" " 


= 


i6f " 


II 


" 


" " = 


31? 


" " 


6 


tt a 


= 


175 " 


11X 


" 


" " = 


327 


11 11 


6X " 


tt II 


= 


17? " 


11^ 


" 


" " = 


32? 


11 11. 


6A " 


<< 11 


= 


i8f " 


niMT 


" 


" " = 


33* 


11 1. 


6X " 


" " 


= 


19} " 


12 


" 


" " = 


345 


11 u 


7 


" " 


= 


20 " " 


I2X 


" 


" " = 


35 


11 11 


7'A " 


" " 


= 


20 5 <t 11 


T-2'A 




" " = 


35? 


11 11 


VA " 


" " 


= 


2iy 


12^ 


" 


" " = 


36? 


11 11 


7H " 


'* " 


= 


22i " " 


'3 


" 


" " = 


3l\ 


11 ii 


8 


" " 


= 


22? " " 


13X 


" 


" " = 


37? 


11 11 


8'A " 


" " 


= 


2 3 f " 


nVz 




" " = 


38= 


" " 


8% " 


" " 


= 


247 " 


13^ 


" 


" " = 


39? 


11 11 


&A " 


" " 


= 


25 


14 


" 


" " = 


40 


" '<• 



279 

TABLE OF RELATIVE LENGTHS 

Of Woolen Yarn Cuts and Cotton Yarn by Numbers. 

Taking the "Cut" as a Basis. 
300 yards Single Woolen Yarn = 1 Cut. 
S40 '■ " Cotton " = 1 Number. 

1 Cut Single Woolen Yarn = No. j 5 j Single Cotton Yarn. 



5 = iff 

6 " " " " = 2j 

7 = 2 j 

8 " " " " = 2$ 

9 " " " " = 3ft 
10 " " " " = 3f 



4? 

4ft 

5 

5ft 

5* 

6ft 

6 1 

6ff 

7? 

1\ 

7f 

8ft 

Si 

Sfl 
9f 
9ft 



= 10? 



I2f 

I3ft 
r 3f 

I3H 

l 4 f 

14ft 

i6 T V 



TABLE OF RELATIVE LENGTHS 

Of \Voolen Yarn by Cuts and V^oolen Yarn by Runs. 

Taking the "Cut" as a Basis. 
300 yards Single Woolen = 1 Cut. 
1600 " " " =1 Run. 



1 Cut Single Woolen Yarn 

2 " '< " 

3 " " 

4 " " 

5 " " " 



Run. 



6 Cut Single Woolen Yarn 

7 " 



1} Run, 
ift " 
ij " 

iH " 



'280 



1 1 Cut Single Woolen Yarn 



= 2i 

= 2 r ' 5 
= 2| 

= »H 

= 3 

= 3ts 

= 3i 

= 3l5 

— 34 
-,15 

= 4b 1 
= 4i 5 ,f 
= 4* 
= 4tt 
= 4i 

= 5i 6 
= 5A 

= 5l 
= 5tt 
= 6 
= 6 T 3 s- 
= 6f 
= 6A 



36 Cut Single Woolen Yarn 










= 6| 


37 " 






- . 


= 6H 


3S „ 








= 7i 


39 " " " • 










= 7A 


40 " " " " . 










= 71 


41 " " " " 










= 7tt 


42 " " 










= 7l 


43 " 










= 8A 


44 " 










= 8J 


45 " " " " 










= 8^ 


46 " 










= 8| 


47 " 










= 8H 


48 " 










= 9 


49 " 










= 9* 


5° " 










= 9l 


5i " 










= 9i 


52 " 










= 9rt 


53 " 










= 10J 


54 " 










= io T 6 ff 


55 " 










= 10J 


56 " 










= ioH 


57 " 










. = ioJ 


53 " 










• = "A 


59 " 










. = III 


60 " 










• = 1 Its 



TABLE OF RELATIVE LENGTHS 

Of Woolen Yarn by Cuts and Worsted Yarn by Numbers. 

Taking the Cut as the Basis. 
300 yards Single Woolen Yarn = 1 Cut. 
560 " " Worsted " =1 Number. 



1 Cut Single Woolen Yarn=No. |§ Single Worsted. 



355" 

4& 

5 If 
«H 
6|| 

72¥ 



9s% 
9il 



= ioff 



= I2#8 

= B« 

= I3H 

= I4j|- 

= 15 

= I5H 

= 16A 

= 16H 

= 1 7 2*8 



33CutSingle Woolen Yarn=No. 17H Single Worsted. 



34 
35 
36 
37 
38 
39 
40 
4i 
42 
43 
44 
45 
46 
47 
48 

49 
5° 
5i 
52 
53 
54 
55 
56 
57 
58 
59 
60 



— i8/ F 
= iSIi 

= 19A 

= 19!! 

= 20jf 

= 20|| 

= 2l|| 

= 2lf| 

= 22 If 

= 23 2 \ 

= 23II 

= 24^V 

— 2 458 

= 25 jfr 

= 25ft 

= 26A 

= 2611 

= 27^ 

= 27II 

= 28]$ 

= 2S1I- 

= 29M 

= 30 

= 3°M 

= 3*A 

= 3i« 

= 32A 



= 


i Number. 


, 2 A Single 


Cotton Yarn. 


ll A 

2% 


" 


" 


4 


" 


" " 


5>i 


" 


II .c 


6% 


" 


" " 


8 


" 


II II 


9'A 


" 


" " 


™% 


" 


" " 


12 


" 


" " 


kX 


" 


II II 


hH 


" 


II II 


16 


" 


11 11 


i7K 


" 


II 11 


i8* 


" 


II 11 



281 

TABLE OF RELATIVE LENGTHS 

Of Worsted Yarns by Numbers and Cotton Yarns by Numbers. 

Taking the Worsted Number as a Basis. 
560 yards Single Worsted Yarn = 1 Number. 
840 " " Cotton '' 

No. 1 Single Worsted Yarn = No. 
2 " " " — 

4 " " " = 



24 

26 " 

2S " " " : 

30 " " " = 20 

32 " " " = 21 }i 

34 " " " = 22% 

36 " " " = 24 

38 " " " = 25', 

40 " " " = 2673 

42 " " " = 28 

44 " " = 29', 

46 " " " = 30^3 

48 " " " = 32 

5o " " = 33'A 

52 " " = 3473 

54 " " " = 36 
56 " " " = 3773 

55 " " " = 38% 
60 " " " = 40 
62 " " " = 41% 
64 " " " = 42% 
66 " " " = 44 
68 " " " = 45'3 
70 " " " = 46^' 
72 " " " = 48 
74 " " " = 49.'3 
76 " " " = 5°73 
78 " " " = 52 
80 " " " = 53 'i 

82 = 54 2 3 

84 " " " = 56 

86 " " " = 57 y 3 

88- " " " = 58% 

90 " " " = 60 

92 " " " = 6l'3 

94 " " " = 62-j 7 

96 " " " = 64 

98 " " " = 65'^ 

100 " " " = 66;^ 

no " " = 73^ 

120 " " " = 80 

130 " " " = 86% 



282 



TABLE OF RELATIVE LENGTHS 

Of Worsted Yarn by Numbers and Woolen Yarn by Runs. 

Taking the Number as a Basis. 
560 yards Single Worsted Yarn = 1 Number. 
1600 " " Woolen ' 



No. 1 Single Worsted Yarn : 
2 " " " 

4 " " " : 

6 " " " = 

8 " " " = 



= 1 Run. 
Run Single Woolen. 



3tc 

4rV 
4* 

5tV 

6 tV 

7 

7tV 

8 rb- 

9i*o 

9rV 



= «fV 

= 14 

= 15A 

= i 6 iV 
= I7& 



TABLE OF RELATIVE LENGTHS 

Of Worsted Yarn by Numbers and Woolen Yarn by Cuts. 

Taking the Number as a Basis. 
560 Yards Single Worsted Yarn = 1 Number. 
300 " " Woolen Yarn = 1 Cut. 

No. 1 Single Worsted Yarn = iff Cut Single Woolen. 



24 
26 
28 
30 
32 
34 
36 
38 
40 



,1 1 
3rs 

7iV 

"A 
14H 



= 26 A 
= 29 H 

= 33rs" 
= 37A 
= 4i T V 
= 44il 
= 48A 

= 52fV 

= 56 
= 59ri 
= 63A 
= 67A 

= 7o T f 
= 74tt 



283 

YARN CALCULATIONS. 

Ascertaining the Counts of Twisted Yarns Composed of Two or more minor Threads of which the 

Counts are Known. 

I. If the compound thread is composed of two minor threads of equal counts and material, 
the compound thread is one-hali the count of the minor. 

Example: 2.60s cotton = single 30s cotton yarn. 
2.40s worsted = " 20s worsted. 

Double and twist 4-run woolen yarn = 2-run single woolen yarn. 
Double and twist 30-cut woolen yarn = 15-cut single woolen yarn. 

II. If the yarn be more than two-ply, divide the given counts by the number of ply. 
Example : 3.90s cotton = 90 -=- 3 = single 30s cotton yarn. 

3.60s worsted = 60 -=- 3 = single 20s worsted, etc. 

III. If the compound thread is composed of two minor threads of unequal counts but the 
same material, the rule for finding the equal in a single thread as compared with the compound 
thread, is as follows : 

Divide the product of the counts of the minor threads by their sum. 

Example A. — Find the equal in single cotton yarn to a two-fold cotton thread composed of 
single 40s and 60s. 

40 X 60 =2400 -~- 100 (40 + 60) = 24. 

Answer: A two-fold cotton thread composed of single 40s and 60s equals a single 24s 
cotton yarn. 

Example B. — Find the equal in a single worsted thread to a two-fold worsted thread 
composed of single 20s and 30s. 

20 X 30 = 600 -s- 50 (20 + 30) =12. 

Answer : A two-fold worsted thread composed of single 20s and 30s equals single 12s worsted. 

Example C. — Find the equal counts in single woolen yarn (run basis) for a double and twist 
thread composed of single 3-run and 6-run woolen yarn. 

3X6= 18^9(3 + 6)= 2. 

Answer: A 3-run and 6-run woolen thread being twisted equals a single 2-run woolen thread. 
Example D. — Find the equal counts in single woolen yarn (cut basis) for a double and 
twist thread composed of single 20-cut and 30-cut yarn. 

20 X 30 = 600 ■+■ 50 (20 + 30) = 12. 
Answer: A 20-cut and 30-cut woolen yarn twisted equals single 12-cut woolen yarn. 

IV. If the compound thread is composed of two minor threads of different materials, one 
must be reduced to the relative basis of the other thread, and the resulting count found in this 
system. (See tables of relative lengths given on page 276 to 282.) 

Example A. — Find the equal counts in a single worsted thread to a 2-ply thread composed 
of single 30s worsted and single 40s cotton yarn. 

40s cotton = 60s worsted. Thus 30 X 60 = 1800 -h- 90 (30 + 60) = 20. 
Answer: Compound thread given in example equals a single 20s worsted thread. 
Example B. — Find the equal counts in single cotton yarn to a 2-ply thread composed of 
single 30s worsted and 40s cotton yarn. 

30s worsted = 20s cotton. Thus 40 X 20 = 800 -=- 60 (40 + 20) = 13^. 
Answer: Compound thread given in example equals a single cotton thread of number 13^3. 
Example C. — Find the equal counts in single woolen yarn (run basis) to a 2-ply thread com- 
posed of single 20s cotton yarn and 6-run woolen yarn. 

20s cotton = 10^2-run woolen yarn. Thus 10^ X 6 = 63 -5- 16^ (10^ + 6) = 3A. 
Answer: Compound thread given in example equals a single woolen thread of 3ft runs. 



284 

Example D. — Find the equal counts in single woolen yarn (cut basis) to a 2-ply thread com- 
posed of single 40s cotton yarn and 28-cut woolen yarn. 

40s cotton = 112 cuts. Thus 28 X 112 = 3136 ~ 140 (28 + 112) = 22ts. 
Answer: Compound thread given in example equals a single woolen yarn of 22ra cuts. 

V. If the compound thread is composed of three minor threads of unequal counts, but of 
the same material, compound any two of the minor threads into one and apply previously given 
Rule III to this so compounded thread and the third (minor) thread not previously used. 

Example : A 3-run, 6-run and 8-run thread being twisted together, what are the equal 
counts in one thread of the compound thread ? 

3 x 6= 18-J-9 (3+6) = 2. (A 3-run and a 6-run thread compounded equal a 2-run 
single thread.) 

Thus : 2 x 8 = 16 -*- 10 (2 + 8) = 1 & = if. 

Answer : Compound thread given in example equals if run. 

Example: A 20s, 30s and 40s worsted being twisted together, what is the size of the 
three-fold yarn ? 

20 X 30 = 600 -5- 50 (20 + 30) =12. (20s and 30s worsted compounded into one thread 
equal single 12 worsted.) 

Thus: 12 X 40 = 480 -v- 52 (12 + 40) = gfa. 

VI. If the compound thread is composed of three minor threads of two or three different 
materials, they must by means of their relative length (see tables of relative length given on pages 
276 to 282) be transferred into equal counts in one basis, and afterwards find the size of the com- 
pound thread by Rule V. 

Example : Find equal counts in single woolen yarn, "run" basis, for the following compound 
thread : A 3-run, a 6-run woolen thread, and a single 20s cotton twisted together. 

20's cotton equals 10^-run. 3X6= 18 -h 9 (3 + 6) = 2. 

(3-run and 6-run threads compounded equal a single 2-run thread.) 
Thus, 2 X io}4 = 21 + \2% (2 + IOJ-Q = \\l. 
Answer. The three-fold thread given in example equals in counts a single woolen yarn of \\\ 
(nearly 1^) run. 

By means of the rules and explanations given it will be easy to ascertain the equal counts 
in a single thread for a two or three-ply thread, composed of yarns of the same basis, as well as 
compound threads constructed of different materials. 

VII. Rule for ascertaining the counts of a thread required to produce with a given single 
thread a two-fold thread of which the compound size is known. 

Multiply the counts of the given single thread by the counts of the compound thread and 
divide the product by the remainder, obtained by substracting the counts of the compound threads 
from the counts of the given single thread. 

Example A. — Question: Find size of single yarn required (run basis) to produce with a 
4-run woolen yarn a compound thread of 3-run. 

4X 3 = I2H " 1 (4— 3) = 12. 

Answer: The minor thread required in the present example is a 1 2-run thread, or a 4-run 
and a 1 2-run woolen thread compounded into a 2-fold yarn, equal in counts to a 3-run single 
woolen. 

Example B. — Question: Find size of single yarn required (worsted numbers) to produce 
with a 48's worsted thread a compound thread the equal of 16s worsted yarn. 
48 X 16 = 768 -5- 32 (48 — 16) = 24. 

Answer: The minor thread required in the present 'example is a 24s worsted thread, or a 
48s worsted thread and a 24s worsted thread compounded into a 2-fold yarn the equal in counts 
to 1 6s worsted yarn. 



•285 

Example C. — Question: Find size of single yarn required (cotton numbers) to produce with 
a 80s cotton thread a 2-fold yarn of a compound size of equal 30s cotton yarn. 
80 X 30 = 2400 ■+■ 50 (80 — 30) = 48. 

Answer: The minor thread required in the present example is a 48s cotton thread, or 80s 
and 48s cotton threads compounded into a 2-fold yarn equal in this compound size to a single 
30s cotton thread. 

VIII. If one of the minor threads is to be found for a 3-ply thread, of which two minor 
threads are known, use the following 

Rule: Compound the two minor threads into their equal in a single thread, and solve the 
question by Rule VII. 

Example. — Find minor thread required to produce with single 30s and single 60s worsted a 
3-ply yarn to equal single 12s worsted counts. 
60s and 30s worsted compound = (60 X 30 = 180 -s- 90 [60 + 30] = 20) single 20s worsted. 



Thus 



20 

{Compound two | 
minor threads [ 
of which size I 
is known. J 



= 240 



f Known size } 

of ply \ 

V yarn, J 



(20 

f Compound two 
minor threads 
of which size ■ 
is known. J 



12) = 30 



f Known size \ 
\ of 3 ply \ 
(. yarn. J 



Answer: The size of the third minor thread required to be ascertained in the given example 
is single 30s worsted yarn or a 3-ply thread composed of a single 30s, 60s and 30s worsted yarn 
equals single 12s worsted counts. 



TABLE OF RELATIVE LENGTHS 
Between Metric Measure of Length and the Denominations in use in the United States. 



Metric Denominations and Values. 


Equivalent in Denominations in Use in the U. S. 


1 Millimetre = 


.001th of a metre. 


0.03937 inches. 


1 Centimetre = 


.01th " " 


o.3937o 


1 Decimetre = 


.1 


3-93708 


1 Metre = 


Unit of Length. 


39.3708 '" or 3.2809 feet. 


1 Decametre = 


10 metres. 


393.708 " 10.9563 yds. 


1 Hectometre = 


100 " 


328 feet 1 inch, or 109.3633 " 


1 Kilometre = 


1,000 " 


0.62138 miles. 


1 Myriametre = 


10,000 " 


6.2138 " 



The Metre, the Unit of the Metric Measure (in use in Austria, France, Germany, etc), is the 
Ten-Millionth part of a Line drawn from the Pole to the Equator. 



U. S. Measures. 



Metric Measures. 



Inch = 
Yard = 
Foot = 
Mile = 



2.5399 Centimetres. 
0.9143 Metre. 
3.0479 Decimetres. 
1609.32 Metres. 



286 

TABLE OF RELATIVE WEIGHTS 

Between Metric Denominations and the Denominations in Use in the United States. 



Metric Denominations and Values. 


Equivalent in Denominations in Use in the U. S. 


i Milligram = 


.ooith of a gram, 


0.0154 troy grains. 


I Centigram = 


.01 " " 


O.I543 " 


i Decigram = 


.1 " " 


1-5432 " 


i Gram = 


Unit of Weight. 


I5-4323 " 


i Decagram = 


io grams. 


134-3235 " 


i Hectogram = 


IOO '' 


3.5291 oz. avoirdupois. 


I Kilogram, or i Kilo,= 


1,000 " 


2.2046 lbs. " 


I Myriagram = 


10,000 ' ' 


22.0462 " " 



The Grain, the Unit of the Metric Weights, is the Weight of a Cubic Centimetre of Distilled 
Water at 4° Centigrade. 



U. S. Measures. 


Metric Measures. 




1 ounce avoirdupois = 


2S.34 grams. 




1 pound " = 


453-59 " 




1 grain troy = 


.064S gram. 




1 ounce " = 


31.104 grams. 




1 pound " = 


-3732 kilo. 





TABLE OF RELATIVE MEASURES OF CAPACITY, DRY AND LIQUID, 

Between Metric Denominations and the Denominations in use in the United States. 

1 Millilitre = .ooith of a litre, or 1 cubic Centimetre = 15.432 grain measures, or 0.061 cubic inches. 

1 Centilitre = .01th of a litre, or 10 cubic Centimetres = 0.61027 cubic inches. 

1 Decilitre = .ith of a litre, or 0.1 cubic Decimetre = 6.1027 cubic inches. 

1 Litre = unit of the measures = 1 cubic Decimetre = 1.7608 pints. 

1 Decalitre = 10 litres = 10 cubic Decimetres = 2.2009 gallons. 

1 Hectolitre = 100 litres = .1 cubic Metre = 22.CC97 gallons. 

1 Kilolitre = 1000 litres = 1 cubic Metre = 220.0967 gallons. 

The Litre, the Ufiit of the Metric Measures of Capacity, Diy and Liquid, is the Volume of a 
Cubic Decimetre, 



INDEX AND GLOSSARY. 



PAGE. 

Alpaca is the name of a thin kind of cloth produced from the wool of the Alpaca, an animal of Peru. 

Amount of filling required for one yard of cloth, ascertaining, 266 

Amount of warp required for one yard of cloth, ascertaining 265 

Analysis, is the art of resolving a machine, fabric, material, etc., into its constituents parts. 

Analysis of the various Textile fabrics , 2 .S7 

Arrangement of threads in a sample, ascertaining, ........... 264 

Arranging the fabric to be tested and methods for ascertaining the various percentage of each fibre compos- 
ing the thread or woven cloth 262 

Arras are hangings of tapestry, 2 56 

Astrakhan is a warp pile fabric, used for ladies' cloakings — trimmings, etc 173 

Avoirdupois Weight. One pound avoirdupois is the weight of 27.7015 cubic inches of distilled water 
at 39.83° .F., the barometer being 30 inches. 

Relative Weights of '" Avoirdupois" Weights in "Troy" Denomination. 
Avoirdupois= Lbs. oz. Dwt. Grains. -1 

1 Ton = 2922 2 13 8 I g 

1 cwt. = 146 1 6 16 

1 Qt. 34 o 6 16 \ ^ 

1 Lb. = 1 2 11 16 I 2. 

1 Oz. 18 5</i J 5" 

iDr. 1 3ii J 

Relative Weights of " Avoirdupois " Weights in "Apothecaries" Weight. 
Avoirdupois = /.lis. oz. Dr. Scr. Gr. | . 

1 Lb. 1242 I jj\£" 



1 Oz. = 7 • m 

1 Dr. = 1 1\\ 

Backing, the filling which produces by interlacing- with warp-threads the lower or back structure in a fabric, 
Basket-weaves are subdivisions of the plain weave, 

plain, 42 

fancy, 45 

Batten is a part of the Jacquard machine; the frame which carries the cylinder in its motion to and from 

the needle board 251 

Binder-warp, the warp threads producing the foundation of a fabric ; interior warp ; this warp is generally 

not visible in the finished fabric. Used in Astrakhans, velvets, Brussels carpets, upholstery fabrics, etc. 

Broken Draws, 3 2 

Broken Twills are twill weaves in which the direction of the characteristic twill line is arranged to run 

partways of the repeat in the weave from left to right, and partways from right to left. 

Broken Twills are a sub-division of the regular twills, 52 

Brussels Carpet, 188 

Calculations necessary for the manufacture of the various textile fabrics, 257 

Camel Hair is the hair of certain camels,, and is used either combed or carded. 

Cam Loom, a loom in which the harnesses are actuated on by cams. 

Card Stamping. .................. 253 

Cashmere, or Kashmere wool, is the fine hair of the Cashmere goat, which thrives upon the Himalaya 

mountains and surrounding country, in Asia. Cashmere is also used to indicate certain fabrics made 

of wool or silk warp and goat hair, or fine Merino wool filling. 
Checkerboard effects in fabrics, produced by the color arrangement, are the combination of Hair line and 

Tricot effects. See fig. 20. 
Chenille is a fringed thread used either for filling in the m inufacture of rugs, curtains ; or in its first woven 

state in Trimmings, Fringes, etc 153 

Chenille Cutting Machine. 158 

(287; 



288 

PAGE. 

Chenille Fabrics, as produced by cross weaving. 244 

Chinchillas are pile fabrics produced by an extra filling ; used for overcoatings, 152 

Colors. 

Primary: Blue, Red, Yellow. 

Secondary : Purple, Orange, Green. 

Tertiary a : Russet, Olive, Citron. 

Tertiary b : Brown, Maroon, Slate. 

Color- Harmony. Every color has its perfect harmony, (contrast,) and also other colors which harmonise 
with it in different degrees. When two colors are to be used in a textile fabric which do not accord, 
the proper selection of a third may make a harmonious combination. 
Comber-board a part in the Jacquard loom ; placed in the latter for holding harness cords and heddles in 

the proper position 254 

Combination of different systems of Weaves for one Design. • 90 

Combination of the Swivel effect in fabrics interlaced with two systems of warp and one or two systems of 

regular filling . m 

Combination of Weaves for fabrics constructed with one system of warp and two systems of filling, . . 105 

■ for fabrics constructed with two systems of warp and one system of filling 114 

Combination Steep- Twills are a sub-division of the regular twills. Their method of construction, . . 67 

Combining two systems of filling with one kind of warp, for increasing the bulk of a fabric, ... 105 

two systems of filling with one kind of warp, for figuring with extra filling upon the face of the 

fabric, 108 

two systems of warp a nd one system of filling for producing double-faced fabrics, . . . 114 

two systems of warp and one system of filling for producing the bulk in fabrics, . . . . J 15 

Corduroys are pile fabrics produced by an extra filling, 149 

Corkscrew Twills are a sub-division of the regular twills. Their method of construction, ... 68 
Cotton is the white, downy, fibrous substance which envelopes the seed of various species of the cotton 
plant, gossypium, belonging to the natural order malvacese. 

Cotton or other vegetable fibre, how to detect, in woolen or silk fabrics, .261 

Cotton Yarns, grading of, 269 

Cotton Yarn, woolen yarn (cut basis), table of relative lengths, 276 

woolen yarn (run basis), table of relative lengths, 276 

worsted yarn, table of relative lengths, 276 

Cross-weaving as used for producing fast centre selvages, 247 

as used for the manufacture of Filtering-bags, 246 

or Gause weaving. 

Curved twills are the combinations of regular twills and steep-twills. Their method of construction . . 62 

Cutting Double Pile fabrics after leaving the loom, machine for, , . . . 205 

Cylinder, a part of the Jacquard machine, 251 

Delaine, a light worsted cloth of specially selected long, fine and strong staple in the material when pro- 
ducing the yarn. 

Derivative Weaves from the Plain weave, 41 

from Twills, 52 

' from Satins, 84 

Designing Paper. Selection of, i» 

Divisions of Textile Fabrics according to their construction, 9 

Double Cloth a fabric produced by combining two single cloths into one structure, 129 

Double faced Pile carpets, 193 

Double Pile Fabrics made with a proportionally higher pile, 210 

principles of construction, 194 

methods of operation in use for producing double pile fabrics and the different systems of cut- 
ting the pile threads, 197 

Double Plush, 194 

Double Satins are a sub-division of the regular Satin weaves. Their method of construction, ... 84 
Doup or doup heddle, required in gauze weaving to produce the douping or twisting of the whip-threads 

around the ground-threads, - 228 

Drafting of Drawing-in Drafts from Weaves, . . • , 36 

Drazuer-in, the operative performing the dra wing-in of the warp in its harness, 31 

Drawing-in Drafts. Specimen of a complete drawing-in order-sheet, 35 

Their different divisions, 32 

Their principle, 31 



'289 

PAGE. 

Drawing-in the Warp in its Harness; description of the operation, 31 

Entwining Twills are a sub division of the regular twills. Their method of construction, ... 75 

Fancy Cassimere, a fancy woolen fabric, used for suitings, trouserings, etc., 

Fancy Effects as produced by the arrangement of two or more colors in fabrics interlaced with broken 

twills > 55 

— - as produced by the arrangement of two or more colors in fabrics interlaced with rib and 

basket-weaves, 48 

as produced by the arrangement of two or more colors in fabrics interlaced with twill-weaves, . 22 

in Fabrics produced with the plain-weave, 14 

Fancy Gauze, combination of plain and gauze weaving, 231 

Fancy Twill Weaves, being a sub-division of the regular twills 80 

Figured Doubte Pile Fabrics, 210 

Figured Double Plush produced upon a Jacquard machine containing a stationary and a rising "Griffe," 

and also a falling "Grate," 214 

Figured Effects as produced by the arrangement of two or more colors in fabrics interlaced with Deriva- 
tive weaves, 93 

Figured Imitation Gauze weaves. Their method of construction, 104 

Figured Pique, , 14! 

Figured Velvet, iyi 

Figuring with an extra Warp upon the face of a fabric otherwise interlaced with its regular warp and 

filling, n 7 

Finished Texture, ends per inch in warp and filling in the finished fabric ; description of the procedure for 

ascertaining, 258 

Five ply Cloth, a fabric produced by combining five single-cloth fabrics into one structure 147 

Foundation Weaves, the divisions for grading the different weaves textile fabrics are constructed by, . 13 

Four-ply Cloth, a fabric produced by combining four single-cloth fabrics into one structure, . . . 147 

Frame, technical grading of Brussels carpets, 188 

Fringes, . . 160 

Fulling. The process of felting cloth. 

Fustians, pile fabrics produced by an extra filling 149 

Gauze are fabrics characterized by not having their warp-threads resting parallel near each other as ob- 
served in ordinary weaving, 228 

Gauze weaving Mechanism for Open-shed Loo'us, 237 

Gigging. The process of producing a nap on cloths. 
Gingham, a fancy cotton fabric. 

Gobelin Tapestry 256 

Grading of the various Yarns used in the Manufacture of Textile Fabrics according lo Size or Counts, . 269 
Granite- II eaves are weaves producing in the fabrics they are used for small broken-up effects. Their 

method of construction, 85 

Griffe, a part of the Jacquard machine, 251 

Griffe-bars, the constituents of the Griffe, 251 

Ground-warp, the warp around which the whip-threads are twisted in Gauze weaving. 

Ground warp or Body zuarp, the warp which forms by interlacing with the filling the body structure in pile 

fabrics. 
Hair-line, fine line effects (running warp ways) in a fabric. See Figs. 18, 87, 8S, 214, 215, 219, 220, 221. 

Hander-in, the operative assisting the ". Drawer-in " in threadingthe warp in its harness 31 

Harness, or harness-shaft, or shaft, the frame holding the heddles in position 31 

Heavy Square in Designing paper, practical use of the, 10 

Heddles, the same are adjusted to the harness-shaft and have the warp threads drawn through their eye . 31 

Heddles; Rules for estimating the number of heddles required on each harness. 38 

Heddle-eye, the opening in the centre of the heddle through which the warp-threads are threaded, . . 31 
Honeycomb Bedspread, a fabric interlaced with peculiar weaves known as honeycomb weaves. 

Honeycomb Weaves, their method of construction, 98 

Ingrain Carpet, 225 

Imitation Gauze Weaves, their method of construction, 102 

Imitation Tricot, fine line effects (running filling ways) in a fabric, see figs. 19, 213 and 216. 
Jack, a part of the harness-motion in a loom. 

Jacquard Gauze, 240 

Jacquard Harness, 253 

Jacquard Machine, 250 



290 

PAGE. 

Jersey Cloth, the name of a fabric characterized by its great amount of elasticity. This fabric is mostly 
produced by knitting machines. For imitation of Jersey cloth produced upon the regular loom see 
weave fig. 628. 
Jute is a native plant of China and the East Indies ; its long fibre, which is of a brown to silver-gray color, 
is used largely in the manufacture of Brussels and Tapestry carpets, rugs, etc., for the body-ground 
structure of the fabric. It is distinguished from flax by being colored yellow under the influence of 
sulphuric acid and iodine solution. The grading of the yarn when spun is done similar to woolen yarn 
cut basis (300). 
Lantern, the iron extension put on the cylinder of a Jacquard machine. The cylinder is turned by means 

of the catches working on the lantern, 251 

Lappet Weaving, 123 

Lay, Lathe or Batten, a part of the loom. To it are secured the shuttle-boxes and the reed. 

Leash, two or more harness cords combined and adjusted to one neck-cord. 

Lei off Mechanism for the Pile warp in Weaving Double Pile Fabrics. ... . . . . . . 209 

Machines for curling warp threads for Astrakhans. 180 

Mail, made of metal, forms the centre part of a twine heddle ; in the eye of the mail the warp-thread is 
drawn. . 

Matelasses, a fabric chiefly used for ladies' jackets or mantle cloth. 140 

Metric Denominations and those used in the United States, Tables of relative Length, Weight and Capacity 

between, 2S5 

Mixed or Cross Draws 35 

Modifications of the single-lift Jacquard Machine 252 

Mohair, the fleece of the Angora goat. It is largely used in the manufacture of light-weight dress goods, 
which are characterized by their lustre. In pile fabrics, as plushes, velvets, Astrakhans, etc. , of a 
plain or figured denomination, mohair is frequently used for the "Pile warp," while the ground or 
body of the fabric is made of cotton. 
Open shed Loom, the name of a loom which by means of its harness mot'ion changes the position of the 
harness only when so required by the weave, consequently acts as easy as possible on the yarn ; and 
this with an additional allowance for high speed. 

Open shed Looms adopted for Gauze-weaving. 237 

Peculiar Character of Gauze Fabrics. .............. 231 

Picking out or ascertaining the weave . 259 

Pile Fabrics are woven articles characterized by a soft covering overspreading the ground-structure of the 

fabric. 149 

produced by an extra filling. . 149 

produced by an extra warp. 166 

Plain-weave, is also known as cotton weave; in this weave, warp and filling cross each other at right 

angles, and interweave alternately 13 

Plain Piqu£ Fabrics 140 

Plush Fabrics (single plush) 16S 

Point Draws , 33 

Point-harness, the technical name for the first and last harness in a point draw. 

Pointed Twills are a sub-division of the regular twills. Their method of construction. .... 80 

Process of Finishing necessary and amount of Shrinkage of the Fabric, ascertaining, ..... 268 
Quilts are fabrics used for bedspreads, toilet-covers, etc., made in white, with cotton for material. The 

design in these fabrics is produced by a visible stitching in double cloth, ...... 140 

Raisers, or warp up, or the warp to be visible on the face of the fabric, 12 

Ratine, a filling pile fabric used for overcoatings 152 

Raw Materials used in the Construction of a Fabric, ascertaining, 261 

Raw Silks, 273 

Reclining- Twills or flat-twill weaves, are a sub-division of the regular twills. Their method of construc- 
tion, 60 

Reed, a series of narrow strips of metal, between which the warp-threads pass in the loom, ... 39 

Reed Calculations, . 39 

Repp, a fabric showing rib lines in the direction of the warp or filling, or in both systems of threads in the 

same fabric, . 14 

Rib Fabrics, ■ 142 

Rib weaves are sub-divisions of the plain weave. 

Rib weaves, plain, • 4 1 

fancy 43 



291 

PAGE. 

Rib Weaves, figured 46 

oblique 50 

combining plain and oblique rib-weaves, 51 

Roller Loom, a loom in which the harnesses are actuated on by means of straps passing over rollers. 

Rules for designing double cloth, 130 

Rules for finding the equivalent Counts of a given Thread in another System, 274 

Satin Heaves, their method of construction, 25 

influence of the twi,t of the yarn uprn the fabric produced with the latter 29 

arrangement for commencing the same for special fabrics, 29 

Seamless Bags, double-cloth weaving without stitching both cloths, 137 

Sec/ion Arrangement Draws 34 

Selvedge, selvage, the edge of the cloth, woven in such a manner to prevent ravelling ; also called list or 

listing. 
Shot about, the alternate exchange (filling ways) of figure-up and ground-up in two-ply ingrain carpet. 

Shrinkage of a Fabric in width from loom to case, 263 

Shrinkage or Take-up of warp during weaving, 263 

Shuttle-race ivay, the part of the lay on which the shuttle travels to and fro. 

Silk consists of the pale yellow, buff colored, or white fibre, which the silk worm spins around about itself 
when entering the pupa or chrysalis state. 

Silk, to detect from wool or the vegetable fibres, 262 

Sinkers, or filling up, or the filling to be visible on the face of the fabric, 12 

Size of the Yarns found in Sample, ascertaining, 264 

Skeleton Harness, the harness frame to which is fastened the doup, ........ 228 

Skip Draws 35 

Skip 7":uills are a subdivision of the regular twills. Their method of construction, 63 

Slackener or Easer, an attachment on the loom necessary in gauze weaving to ease up the whip-threads when 

douping, 
Smyrna Carpets and Rugs are pile fabrics of a special method of construction, made upon the " Hautelisse'' 

loom, 221 

Spun Silks. 273 

Squared Designing Paper, as used for the different textile fabrics, 9 

Standard Harness, the harness frame carrying the standard heddle ; through the latter the doup is 

threaded 228 

Steep Twills, or Diagonals, are a sub division of the regular twills. Their method of construction. . 56 
Stitching, technical for the procedure of combining two single-cloth fabrics into double-cloth. 

Substitutes for Regular Doups in Gauze weaving 242 

Swivel Loom, a loom capable of two different movements ; namely, the swivel and the plain weaving 

movements in 

Swivel Weaving, a method of weaving for producing figures upon fabrics otherwise interlaced with a reg- 
ular warp and filling ; used in the manufacture of figured dress goods, ribbons, etc 109 

Table for ascertaining the number of square inches in any Fabric, with a width of iS incites to 54 inches. . 25S 

Table for finding the Satin Weaves most frequently used. 29 

Table for lengths of Cotton Yarns, from No. 1 to 240s 269 

Table for Lengths of Woolen Yarns (cut basis), from 1 cut to 50 cut yarn. . 271 

Table for Lengths of Woolen Yarns ( run basis), from # to 15 run 271 

Table for Relative Leng ths of inches dressed and one yard woven 266 

Table showing the Length of Cum Silk Yarn, per pound and ounce, from 1 dram to 30 dram silk . . 274 

Table showing the number of yards of Worsted Yarn (single or two-ply) from number 1 to 200. . . . 272 

Tapestry Carpet. 1S5 

Terry Pile, the pile in a fabric in which the loop is left intact 166 

Terry Pile Fabrics in which the pile is produced during weaving without the aid of wires, .... 216 
Texture, number of warp and filling ends to one inch in a fabric. There are two textures : a, for the fabric 
from the loom, b, for the finished fabric. 

Texture of Fabrics required in loom 263 

Three ply Cloth, a fabric produced by combining three single-cloth fabrics into one structure, ... 146 

Trevette or cutting knife used for cutting (by hand) the pile in warp pile fabrics, 167 

Tricot fabrics more or less elastic as compared to other woven articles. 

Tricot Weaves. Their method of construction 126 

Twills, weaves forming fine diagonally running lines in the fabric. ........ 16 

Twills having Double Twill Effects, are a sub-division of the regular twills. Their method of construction. 77 



292 

PAGE. 

Twill Weaves producing Checkerboard Effects are a sub division of the regular twills. Thur method of 

construction, 78 

Twisted Yarns composed of Two or more minor Threads of which the Counts are Known, ascertaining their 

compound counts, 283 

Two ply Ingrain Carpet, 225 

Velveteens are filling pile fabrics, j^n 

Velvet Fabrics, ■ j68 

Velvet Pile, the pile in a fabric in which the loop is cut, 166 

Wadding, or interior filling. Used in the manufacture of Chinchillas, Matelasses, Piques, and similar fab- 
rics. In the first-mentioned class of fabrics it is solely used for increasing the bulk, while in the 
latter fabrics it is used to give, in addition, a rich, embossed effect to the design. 

Weave, ascertaining the, 259 

Weight of Cloth per yard from Loom, ascertaining, 265 

Weight per yard of the Finished Fabric, method in use for ascertaining, 257 

Whip thread, or douping warp in gauze. 

Whip roll. A part of the loom. The warp passes from the warp-beam around the whip-roll towards the 
harness. 

W/iitney's Filling Pile Fabrics, used for overcoatings, 152 

Wool. By the term wool we comprehend the hairy covering of several species of mammalia, more especi- 
ally that of the sheep. It is more flexible, elastic and curly than hair. Wool, as used for warp and 
filling, is either combedor carded, technically known as worsted ox wool-spun yarn. 

Woolen Yarn, "cut system," 271 

cut basis, — cotton yarn, table of relative lengths, 279 

cut basis, — woolen yarn, run basis, table of relative lengths, 279 

cut basis, — worsted yarn, table of relative lengths 280 

" run system," ■ 270 

run basis — cotton yarn, table of relative lengths 277 

run basis, — woolen yarn, cut basis, table of relative lengths 278 

run basis, — worsted yarn, table of relative lengths : 278 

Worsted Yarns 272 

Worsted Yarn, cotton yarn, table of relative lengths, 281 

woolen yarn, — cut basis, table of relative lengths, 282 

woolen yarn,— run basis, table of relative lengths, . . 282 

Worsted Coalings, a double cloth in which the stitching is arranged to form designs 138 

Yam Calculations, 283 



Silk Plush Looms, ^fgf^ 

Mohair Plush Looms, 

Worsted Plush Looms. 



y^THESE Looms are a great success. The Fabric may be cut in Loom or out of 
Loom as desired. I am building a Loom that is especially adapted for 
SILK ; also a MOHAIR and WORSTED LOOM. 



ALSO BUILDERS OF 



PATENT RAW STOCK DYEING MACHINES, 
WILLOWS, PICKERS, REELS, Etc., 



SHAFTING HANGERS AND PULLEYS. 



Call on or Address for Full Particulars, 



H 



H 



Y MACHINE WORKS 

R. H. PATTON, Proprietor, 

226 Chestnut St., Philadelphia. MSIltiyiink, I(L 

293 



p ATENTS. 

MOWSO N & HOWSON, 

TTOWSON & HOWSON, ATTORNEYS- 
17 AT-LAW AND SOLICITORS OF 

PA TENTS with offices in the cities of PHILA- 
DELPHIA, NEW YORK and WASHINGTON, 
D. C, attend to Patent Law business, in the Courts, 
and before the Patent Office. 

They solicit Patents and register trademarks 
and labels in the United States and in foreign 
countries ; prosecute and defend infringement and 
other suits relating to patents, trademarks or copy- 
rights in the Courts ; examine into, and give re- 
ports and opinions upon, questions as to the nov- 
elty of inventions, the validity of patents, etc. , 
and attend to Patent Law business in all its 
branches. 

CHARLES HOWSON, 

HENRY HOWSON, 

HUBERT HOWSON. 

u 9 S. Fourth Street, PHILADELPHIA, PA. 

j8 Park Row, NEW YORK. 

pij F Street, WASHINGTON, D. C. 

Washing, Drying and Burring Machinery. 

BURR CYLINDERS, LICKER-INS, METALLIC FEED 

ROLLS, DOFFER COMBS, METALLIC BREASTS, 

GARNETT MACHINERY, GARNt-TT PICKERS, 

EXHAUST FANS, WOOL DRYERS, Etc., Etc. 




All kinds of Shafting Appliances, Millwrighting, etc. 



WORKS AND OFFICE: 

Hancock Street, above Lehigh Avenue, 
PHILADELPHIA, PA. 



DESIGN PAPER 



IN ALI^ SIZES, 



Woolen, 
Cotton, 

Carpet a nd 
Upholstery 



MILLS. 



E. .A_. POSSELT, 
2152 N. Twenty-first Street, Philadelphia. 



JAMES HUGHES. 



JOHN RUSSUM. 



HUGHES & RUSSUM, 



PROPRIETORS 



M utual M achine W orks, 

BUILDERS OF 

LOOMS, 

BEAMING MACHINES, ETC. 

With all the latest Improvements, 

Oxford ^ Hedge Streets, 

FRANKFORD, PHILADELPHIA. 



Special attention given to Repair Work, which 

we will furnish promptly and at 

reasonable prices. 



ORDERS BY MAIL WILL RECEIVE PROMPT 
ATTENTION. 



294 




ESTABLISHED 1848. 



^MUMTojy 

v ^vv Manufacturers' Supply ^ x> 

O 0F EVERY DESCRIPTION FOR Cx 



eg 




Cotton, Woolen, Silk and Worsted Machinery. 



OAK 

LEATHER 
BELTING. 







ALSO MANUFACTURERS OF 

Bobbins, Spools, 

Shuttles and Skewers 



Machine Cards 
and 
Specialties. 




GENERAL MILL FURNISHERS. 
No. 113 Chestnut Street, Philadelphia 



CORRESPONDENCE SOLICITED. 




P 

< 
o 

Q 
P 

a 
o 

< 



JOHN ROYLE & SONS. 

Straight Street, Essex Street, 
and Ramapo Ave. 

PATERSON, N. J. 




< 



a 



DOBBIES, 
QU1LLERS, 
g WARPERS, 

< DOUBLERS, 

TWISTERS, 

REEL SPINNERS, 

COVERING MACHINES. 
295 



THOMAS HALTON, 

2627 Mutter Street, Philadelphia, 

MANUFACTURER OF 




JACQUARD 

For Worsteds. 

Of the most approved 
construction, working 
with a double cam on 
crank-shaft of the 
loom, consequently a 
saving of power. Can 
be applied to any loom 
of any make. (The 
most perfect machine 
in the market.) 

Also, builder of Im- 
proved DOUBLE- 
LIFT, DOUBLE- 
CYLINDER JAC- 
QUARD for weaving 
Turkey-red goods and 
table covers of all de- 
scriptions. No wear on 
cards, as the cylinders 
run only half speed. 
(Speed — 145 picks per 
minute for7o-inch wide 
fabrics. Production — 
25 yards per 10 hours 
on 76 picks goods. 

I3EF.AJI3I2sTGr I2>T -^HXj ITS BIS-A-nSTOHES 

Promptly attended to and satisfaction guaranteed. Send for Circular. 
IMPROVED 

Jacquard Machine 

FOB 

Figured Double Velvet 
and Plush Fabrics, 

Being the only perfect 
Jacquard for these popu- 
lar fabrics in the market. 
(See pages 213 to 215 of 
this book.) 

IMPROVED PATENT 
DOUBLE-LIFT, SINGLE- 
CYLINDER JACQUARD. 

Can be applied to any 
loom. This machine has 
come into general use 
amongst upholstery and 
tapestry goods manufac- 
turers, being the best 
machine for both fine and 
heavy goods. These ma- 
chines operate easier on 
the yarn and thus permit 
the use of an inferior 
grade of yarn, with the 
best results. 

Maker of Brussels Jac- 
quard Carpet Machines, 
Piano and Witch Ma- 
chines, Comber - boards, 
Lingos, Etc. 

Address all communications to the works, 

2627 ^E-CLtter Street, Eb.ilSLcLelpln.ia.. 

296 




Established jS6o. 



Telephone Call 495 A. 



I. A. HALL & CO. 

Reeds, Harnesses 

AND 

General Weavers' Supplies, 

Nos. 30 and 32 Division Street, 

PATERSON, N. J. 



Reeds and Harnesses for Ribbons and Dress 

Goods of all kinds, for Silk Manufacturers, 

a specialty. 



Improved Cop Winding Machines — Winds Direct from Skein 
to Shuttle— No Bobbins Used. 



Successor to A. J. CULP & CO., 

MANUFACTURER OF 

Cotton, Woolen and Worked 

MACHINERY, 

No. 2427 Mascher Street, 

PHILADELPHIA. 



IMPROVED BOBBIN WINDING — DIRECT FROM 
SKEIN TO SHUTTLE BOBBIN — SAVES SPOOLING. 



Upright Spindle Patent Bandless Machine for Hosiery. 



UPRIGHT AND SECTION WARPING MILLS, 

YARN BUNDLING PRESS, 

BEAMING MACHINES, CARPET ROLLING 

MACHINES, 

WARP SPLITTING MACHINES, 

BOBBIN WINDERS, SPOOLERS, ROLLERS, 

WRINGING ARMS, DYE STICKS, 

LOOM JACKS, LOOM TREADLES, LOOM 

RODS, CRANK ARMS, 
PICKING STICKS, BOBBIN WHEELS, Etc. 



JACOB WALDER 



188 RIVER STREET, 
Paterson, - N. J., 

Mnfr. of all kinds of 

Reeds, 

Harnesses, 

Lingoes, 



Shuttles 
and Ouills. 



—DEALER IN- 



m Weavers' Materials in General. 



Plush and Velvet Reeds a Specialty . 

E$EL$0I( LOOM pD tf 0Rl$ 

PATENTEES AND SOLE MANUFACTURERS OF 

ADAMSONS' 

Flexible Bevel Dent Reeds. 

REINFORCED WITH SOLDER. 

ESPECIALLY DESIGNED FOR WEAVING 

FINE WORSTEDS, WOOLENS 

AND FANCY COTTON GOODS . 

You will save expense in your Weaving Depart- 
ment by using Our Patent Flexible Dent Reeds, in 
preference to any other make. They cause no 
"Streaky" Goods, cause no friction on Warp 
Threads, less broken Yarn, no Reed-Rowy Goods. 
These Reeds are more durable, and are in every way 
an improvement on the ordinary kind. Prices as low 
as the best work of Makers of the Common Reed. 
Please place with us a trial order, and you will adopt 
them. 

Excelsior loom Reed Works, 

EDWARD ADAMSON, Prop., 



PAWTUCKET, R. I. 



297 



GILBERT LOOM CO., 



BUILDERS OF 



LOOHS 



For Woolens, Cotton, Carpets, Wire, Cane, 



Velvet 




V 



Plush 



Also, Patented Special Finishing Machinery for Measuring, 
Doubling and Folding, Perching and Burling. 

works: i 86 UNION STREET and 36 N. FOSTER STREET, 

WORCESTER, MASS. 

— NOVELTIES. 



MASON-BUTLER DROP-BOX LOOM. 

Simple - Dur&LIe - Convenicnl - Quick-I(iinMn£. 



HEW 

MULE. 



GUARANTEED UNSURPASSED. 

■^SPINNING 
DS ^^MASON^<^ FRAMES 

MACHINE WORKS, 

COTTON MACHINERY. 



MULES 



TAUNTON 
MASS. 



NEW 
FRAME, 



LOOMS 



MASON HIGH-SPEED SHEETING LOOM, 

New, Improved, Heavy, Convenient, with Great Range. 
Silk Loom. Duck Loom. Seamless Bag Loom. 



298 



L. S. WATSON & CO., Leicester, Mass., 

MANUFACTURERS OF 

WATSON'S PATENT MACHINE 




WIRE HEDDLES. 

Guaranteed to be perfectly adapted to Weaving all kinds of Cotton, Woolen 
and Worsted Fabrics, Fancy Cotton, etc., etc. Superior Harness Frames furnished 
promptly. Also manufacturers of Hand Stripper Cards of every description. 



ZKIXjZBTTRJST 



LIHSTOOILjIN" & CO^ 

MAKERS OF 




xlixS 

ii. 



The Seaconnet 
Mills, of Fall 
River, wove in 
301 days of 10 
hours 14,329,219 
yards of 64 x 64 
goods on 92S of 
our "High-Speed 
Looms," a daily 
average of 51 % 
yards per loom 
per day. 



299 



THE CAMBRIA SHAFTING AND MACHINE WORKS, 






■MANUFACTURERS OF- 

; SMtim, Haneers, Pulleys, Gonplines, Eic. 




CHARLES C. KLEIN, 



Marshall & Cambria Streets, 



Stock, Better Results in 

PHILADELPHIA, PA. 



CHAS. M. McCLOUD & CO., 

216 Chestnut Street, Philadelphia, 

IMPORTERS AND MANUFACTURERS 

SILK NOILS YARNS, white and fast colors, 

FOR 

Cloths, Upholstery and Dress Goods. 

Spun Silks, Tinsels and Fine Cotton Yarns and Warps. 



Selling Agents for MALCOLM MIIyLS CO. 

Chenilles, Tinsel Twists and Threads, 

Sewing Cotton, Polished Threads and Cords, Fancy Twists 

in Worsted Silk and Cotton. 



300 



CROMPTON LOOM WORKS, 

WORCESTER, MASS. 

THE ORIGINAL AND MOST EXTENSIVE WORKS FOR THE BUILDING OF CARPET, FANCY 
WOOLEN, COTTON AND SILK LOOMS IN THIS COUNTRY. 



The Crompton Cam 
Loom 

With " 1S86 " box motion is 

superior for Flannels and 
Blankets, and is built of any 
desired width and Shuttle- 
Box capacity, and with two, 
three, four and five -leaf 
cam. 



The Crompton Silk 
Loom 

Is excellent in design and 
operation, and has patent 
special devices particularly 
adapted for the wants of 
Silk Manufacturers. 



The Crompton Gingham 




Loom 


Is the stv 


NDA 


rd for Ging- 


hams am 


Sim 


lar goods. It 


is made 


with 


four or six 


boxes at 


one 


end, or four 


boxes at e 


acfa 


md, and with 


two, three a 


nd four -leaf 


cam. It 


has 


many patent 


improver 


ients 





The Crompton Jean 
Loom 

Has a fixed reputation for 
Kentucky Jeans, etc., etc. 




The Crompton Improved 
Close-Shed "1886" 
Fancy Loom. 

The best for Worsted and 
Fancy Cassimeres. It is of 
twenty -seven harness ca- 
pacity, four boxes at each 
end, and patent automatic 
let-off and safety filling 
stop-motions. The " 1886 " 
Box motion is a positive 
crank and differential lever 
movement ; any of the com- 
partments of either series 
of Shuttle Boxes are com- 
manded at any pick. Single 
or Double Beam arrange- 
ments as desired. 

Crompton's Improved 
Comb on the Noble 
Principle 

Is freely admitted by ex- 
perts to be, in many re- 
spects, the best Comb yet 
produced. In workman- 
ship, character and produc- 
tion, it competes with any 
Noble Comb made. 

In price it cannot be 
underbid. 

Is adapted for either coarse 
or fine wool, and is fur- 
nished with a bailer, or a 
can coiler, or spout for a 
stationary can, as may be 
desired. The main driving 
and smaller shafts are steel. 
The circles are of choicest 
construction and guaran- 
teed in every respect. 



Crompton's New Ingrain Carpet Loom. 

Crompton's New Ingrain Carpet Looms. 

THE attention of manufacturers of Ingrain Carpets is called to the consideration of a new Carpet Loom just put 
on the market. It carries four (4) shuttles boxes at each end of the lathe ; any one of the series at each end 
can be brought into line with the shuttle race at any pick. The Jacquard is of the most approved con- 
struction and moves the warps kindly. The let off and take-up motions bring out perfectly matched goods. 
On two-ply work, it makes sixty (60) yards per day. The apparatus for moving the boxes cannot be surpassed for 
its simplicity and efficiency. This loom has no equal in speed and simplicity from four (4) to seven (7) colors. 

CROMPTON'S UPHOLSTERY LOOM, 



With Improved "1886' 



Box Motion, is Capable of High Speed and Nice Adjustment 
for its Special Line of Goods. 



Philadelphia Exhibition Rooms. Echo Mills, Hancock Street, above Lehigh Avenue, 

WHERE THE CROMPTON LOOMS MAY BE INSPECTED. 

( Correspondence Solicited. ) 



301 



QUAKER CITT 

DYE-WORKS CO. 

Oxford, Howard & Front Streets, 

PHILADELPHIA. 
New York Office, 99 Franklin Street,Watson Building, Room 10. 

DYERS AND FINISHERS 



■OF- 



WORSTED COATINGS, 

Woolen and Cotton Dress Goods, 

Jersey Cloths, Stockinettes, &c. 



DYERS OK- 



WORSTED, WOOLEN AND COTTON SKEIN YARNS, 

SLUBBING AND WOOL. 



Dyeing, Drying and Finishing Machinery, 

FOR 

COTTON, WOOLEN & WORSTED GOODS. 



TENTERING MACHINES, Clamp and Pin Chain. 

SINGEING MACHINES, (Gas and Plate.) JIGGERS. 

WASHING MACHINES, Dolly and Open. PADDING MACHINES. 

CRABBING MACHINES, Single, Double and Treble. DYE KETTLES, with Small Engines attached. 

CALENDERS AND MANGLES, with Paper, Cotton and Husk Rolls. 

HANK YARN DRYING MACHINES, (Hartman's Patent.) 
DRYING MACHINES, with Horizontal and Vertical Frames, and with Copper and Tinned Iron Cylinders. 



H. W. BUTTERWORTH & SONS, 

York and Cedar Streets, - - Philadelphia, Pa. 

LOOM PICKER COMPANY, 







BIDDEFORD, MAINE, 

Manufacturers of 

RAW HIDE AND LEATHER LOOM PICKERS, 

Including many styles of raw hide pickers of which we are the only manufacturers, such as the Parker 
Patent Drop Box Picker which has no plug in the shuttle strike, can not break off at the head nor 
work loose around the rod hole, and is guaranteed to be more durable than any other drop box picker 
made. Also Scoops, Centre Scoops, Pressed Centres, Feathered Feet Bows, and all other 
English styles which have heretofore been imported. 

LOOM HARNESSES, 

Both single and double knotted, made of the best twine and stock, and finished in the most thorough 
manner, making them of guaranteed superior quality. 

ENGLISH FICPCER LEATHER. 

This leather is better adapted for picking purposes than any other. We have the same kind and 
quality which is used almost exclusively in England for this purpose, and will send sample on application. 



ILLUSTRATED CATALOGUE AND SAMPLES OF OUR WORK MAILED ON APPLICATION. 

303 



THE TEXTILE RECORD 

Contains more Original Practical Matter than any other Textile Journal. 

Papers on practical Processes for the Woolen Manufacturer, the 

Cotton Manufacturer, the Dyer and Bleacher, the Calico 

Printer, the Knitter, Etc., Etc., Etc. 

RICHLY ILLUSTRATED ARTICLES ON NEW TEXTILE MACHINERY. 

It is the only periodical in tne World that fully represents the Knitting Industry. 



SUBSCRIPTION PRICE. $3.00 PER YEAR. 



The Best European 
Correspondence. 

Able Editorials 
on Industrial Questions. 

New Processes 

Translated from French 

and German 

Technical Presses. 




The 
TEXTILE RECORD 

Confessedly 

Ranks First Among 

American Journals 

as the Representative 

of the Great 

Textile Industries. 



The Textile Record Hand-Books. 

No. 1. Practice in Wool Carding, - - - - 50 cts.\ Anytwofor$ , 00 . thefour , $l75 . 
" 2. Practice in Finishing, 50 cts. ( The best p ractical Hand -Books 

n n ■ ttt ■ it _, , } ever published, and the cheapest. 

" 3. Practice in Weaving and Loom Fixing, 75 cts, (sent posted on receipt of P nce 
" 1 Practice in Cotton Carding. - - - 75 cts / «&*<*>*. 

The volumes are small enough to go in the pocket. The prices of technical textile books are 
usually very high. These have been issued for the uses of workingmen, and the prices put at very 
low figures. 

THE TEXTILE RECORD, 

425 Walnut Street, Philadelphia. 

304 



UNIFORM IN SIZE WITH THIS BOOK AND BY THE SAME AUTHOR 

THE JACQUARD MACHINE 

ANALYZED AND EXPLAINED: 

With an Appendix on the Preparation of Jacquard Cards & Practical Hints to Learners of Jacquard Designing 

WITH 230 ILLUSTRATIONS AND NUMEROUS DIAGRAMS. 



Jiy E. A. 1'OSSELTf Head Master f Textile Department, Pennsylvania Museum and School of Industrial Art. 

This book, quarto, handsomely bound in cloth, will be mailed, postage prepaid, to any 
address, upon receipt of Price $3.00. 



ABSTRACT OK THE CONTENTS. 



X.— Combination Tie-up in Two Sections. 
XI.— Straight-through Tie-up in Four Sections. 
XII.— Tying-up of Jacquard Looms with Compound Har- 
ness attached. 
XIII. — Tying-up Jacquard Looms for Gauze Fabrics. 

Modifications of the Single Lift Jacquard Machine. 

I.— Double Lift Single Cylinder Jacquard Machine. 
II.— Double Lift Double Cylinder Jacquard Machine. 
III. — Substitution of Tail-cords for Hooks. 



History of the Jacquard Machine. VIII.- Straight-through Tie-up in Three Sections 

The Jacquard Machine— General Arrangement and Appli- IX. -Point Tie-up in Three Sections 

cation. 
Illustration of the different parts of the Jacquard Machine 

—Method of Operation, etc. 
The Jacquard Harness— The Comber-boards. 
Tying-up of Jacquard Harness. 

I. — Straight-through Tie-up. 

II. — Straight-through Tie-up for Repeated Effects, in one 
Repeat of the Design. 
III. — Straight-through Tie-up of Jacquard Loom, having 

Front Harness attached. 
IV.— Centre Tie-up. 

V. — Straight-through and Point Tie-ups Combined. Tying-up of Jacquard Harness for Two-ply Ingrain Carpet. 

VI. — Straight-through Tie-up in Two Sections. General Description ot the Construction of the Fabric. 

VII.— Tying-up a Jacquard Harness for Figuring Part of Straight-through Tie-up. 

the Design with an Extra Warp. Point Tie-up. 

APPENDIX. 
Preparing and Stamping of Jacquard Cards. Repeating Jacquard Cards by the Positive Action 

DobbyCaid-Punching Machines. . . , , Repealer. 

_. ' . _, • „ .. Lacing of Jacquard Cards. 

Piano Card-Stamping Machines. Lacing of Jacquard Cards by Hand. 

Stamping of Cards. Lacing of Jacquard Cards by Machine. 

PRACTICAL, HINTS TO LEARNERS OF JACQUARD DESIGNING. 



Squared Designing Paper for the different Textile Fabrics 
executed on the Jacquard Machine. 
Selection of the Proper Brush lor the different d De- 
signing Papers. 
Colors used for Painting Textile Designs. 
Preservation of Textile Designs 
Sketching of Designs for Textile Fabrics to be executed on 
the Jacquard Machine. 
Methods of Setting the Figures. 
Size of Sketch Required. 

Enlarging and Reducing Figures for Sketches. 

Transferring of the Sketch to the Squared Designing Glossary. 

Paper. 



Outlining in Squares. 

Rules for Outlining in Squares Inside or Outside the 
Drawing Outline. 

Illustration of a Sketch— Outling on n Paper— Finished 
Design— Fabric Sample (Single Cloth). 

Designs for Damask Fabrics to be executed on a Jac- 
quard Loom, with Compound Harness attached. 

Designs for Two-ply Ingrain Carpet. 

Designs for Dressgoods Figured with Extra Warp. 

Designs for Figured Pile Fabrics. 

The Shading of Textile Fabrics by the Weave. 



ABSTRACT OF COMMENTS OF THE LEADING TEXTILE PRESS ON THIS WORK. 

It is a thoroughly practical work, written by one who is master of the business in all its various branches. 
Boston, Mass., November 19th, 1887. Wade's Fibre and Fabric, Boston. 

The work is well gotten up, and with its explanatory illustrations, cannot fail to be of great service both to 
the student and the advanced weaver. 
New York, N. Y., November, 18S7. The Manufacturers' Review and Industrial Record, New York. 

This work has long been a serious need in textile mills, and amongst designers and card stampers, and we 
predict for it a wide circulation. Tributes to its value have reached us from most prominent manufacturers in 
the country. 
Philadelphia, Pa., November, 1887. The Philadelphia Carpet Trade. 

The most important addition ever made on this side of the Atlantic to the literature of the textile industry, etc. 
Philadelphia, Pa., September 15th, 1887. Textile Record of America, Philadelphia. 

It is a great work, and is a credit to the author, etc., etc. 

The Bulletin of the Philadelphia Textile Association, now the Manufacturer. 
Philadelphia, Pa., October 1st, 1887. 

It is the only work in the English language that treats exclusively on the Jacquard Machine. No designer 
who wishes to be up in his vocation should be without it. 
Boston, Mass., November 5th, 1887. Boston Journal of Commerce. 

This work may be obtained from the Author, E. A. P0SSELT, 2152 North Twenty-first Street, or HENRY CAREY BAIRD & CO., 
Industrial Publishers, Booksellers and Importers, 810 Walnut Street, Philadelphia, or SAMPSON LOW, MARSTON, SEARLE & RIV- 
INGT0N, Limited, St. Dunstan's House, Fetter Lane, Fleet Street, London. 

305 




m~ 



STAFFORD'S 

Patent Equalizing Spring Jack 

Is constructed so that the weight on harnesses 
is reduced in lifting, making great saving in 
power. Can be applied to any Loom or 
motion. 



WE LEAD 



THEM 



ALL. 




to 25 harness capacity. 



GEO. W. STAFFORD MFG. CO., 

PROVIDENCE, R. L 



To the Textile Manufacturers, Greeting: — 

Your attention is called to the superior advantages of our special machinery 
for fancy weaving, for producing any class of goods that can be woven upon a loom. 

Upward of eight thousand looms fitted up by us in the United States is a 
sufficient guarantee of our ability to fulfill all we promise. 



DOBBIES OF ANY CAPACITY. 



JACQUARD MACHINES UP TO 1200 HOOKS, 

Single or Double Action, also Rise and Drop Shed for Worsteds. 



Patents--June 7. 




A FULL LINE OF SUPPLIES FOR 

FANCY WEAVING CONSTANTLY 

ON HAND. 



Patented January 4 



Correspondence 
Solicited, 



Vertical Lever, Double -actio 11 I>obble. 

12 to 25 harness capacity. Compact, easy 
working, reliable. 



See Next Page. 



306 




Single-action Shedding Engine. 

12 to 30 harness capacity. 




Rise and Drop Shed Jacquard. 

Specially adapted for Heavy Worsteds and Cloakings. 400 to 600 hooks capacity. 



Sateen Dobbie. 3 to 12 Shades. 

More goods can be produced than with cams 



Instruction Given in Weaving Any Class of Goods, 
AND SATISFACTION GUARANTEED. 



GEO. W. STAFFORD MFG. CO., 

5 POINT STREET, 
PR/OVIDEnSTCB, IR,- I. 



Patented September 6, 1887. 



Stafford Comber-Board, 



COMPOSED OF WIRE. 



Will Not Wear Out, Does Not 
Cut Harness. 



A LARGE NUMBER IN USE. 




307 



Schaum & Uhlinger, 

1030-1038 New Market Street, Philadelphia, Pa. 

MANUFACTURERS OF 

RIBBON, TAPE ANO WEBBING LOOMS, 

LATEST IMPROVEMENTS. NEW PATTERNS. 



CIRCULAR BATTONS, 

For Ribbons, Fringes, Tapes, Gimps, Suspender and Goring Web, etc. STRAIGHT 
BATTONS with one, two, three or four Banks of Shuttles. Our Battons are made 
on a system which insures accuracy in all details of construction ; we use only the best 
materials and produce the best Batton in the market. Write us for estimates, it 
will pay you. 

JACQUARD MACHINES, 

With any desired number of hooks. Applied to any manufacture of loom. 



Harness Tied up for all Figured Weaving. 



A FULL LINE OP WEAVERS' SUPPLIES: 

Mails, Lingoes, Heddles, Harness Twine, Compart-Boards, Glass Rings, Shuttle Eyes, &c. 



If you contemplate manufacturing figured goods, write to us for information, or 
send us samples of the goods you desire to make and we will furnish you estimates 
for a complete equipment, including Jacquard Machines, with harness tied-up, 
designs made, cards cut, etc. 

Sixteen years practical experience in this line of business enables us to give our 
customers the best results with the least expense. 



Schaum & Uhlinger, 

1030-1038 New Market Street, Philadelphia, Pa. 

308 



